» siiiiiiii^BiiiiS M&npiai^lli^^^« Cornell university Uibrarv Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924004645051 HENLEY'S TWENTIETH CENTURY BOOK OF RECIPES, FORMULAS AND PROCESSES HENLEY'S TWENTIETH CENTURY FORMULAS, RECIPES AND PROCESSES CONTAINmO TEN THOUSAND SELECTED HOUSEHOLD AND WORKSHOP FORMULAS, RECIPES, PROCESSES AND MONEY- SAVING METHODS FOR THE PRACTICAL USE OF MANUFACTURERS, MECHANICS, HOUSE- KEEPERS AND HOME WORKERS EDITED BY GARDNER D. HISCOX, M.E. AHTHOB or "mechanical MOVEMENTS, POWERS AND DEVICES," "COMPBESSED AIK," "GAS, GASOLINE AND OIL ENGINES," ETC., ETC. ->>//, 1919 EDITION, REVISED AND ENLARGED NEW YORK THE NORMAN W. HENLEY PUBLISHING COMPANY 2 WEST 45th STREET 1919 Copyright, 1916, 1914 and 1913, by THE NORMAN W. HENLEY PUBLISHING COMPANY Copyright, 1912 and 1907, by THE NORMAN W. HENLEY PUBLISHING COMPANY Also, Entered at Stationers' Hall Court, London, England All rights reserved PRESS OP BRAUNWORTH & CO. BOOK MANUFACTURERB BROOKLYN, N. V. PREFACE In compiling this book of formulas, recipes and processes, the Edi- tor has endeavored to meet the practical requirements of the home and workshop — the mechanic, the manufacturer, the artisan, the housewife, and the general home worker. In addition to exercising the utmost care in selecting his materials from competent sources, the Editor has also modified formulas which were obviously ill adapted for his needs, but were valuable if altered. Processes of questionable merit he has discarded. By adhering to this plan the Editor trusts that he has succeeded in preparing a repos- itory of useful knowledge representing the experience of experts in every branch of practical achievement. Much of the matter has been specially translated for this work from foreign technological period- icals and books. In this way the Editor has embodied much practical information otherwise inaccessible to most English-speaking people. Each recipe is to be regarded as a basis of experiment, to be modi- fied to suit the particular purpose in hand, or the peculiar conditions which may affect the experimenter. Chemicals are not always of uni- form relative purity and strength ; heat or cold may markedly influence the result obtained, and lack of skill in the handling of utensils and instruments may sometimes cause failure. Inasmuch as a particular formula may not always be applicable, the Editor has thought it ad- visable to give as many recipes as his space would allow under each heading. In some instances a series of formulas is given which appar- ently differ but slightly in their ingredients. This has been done on the principle that one or more may be chosen for the purpose in hand. Recognizing the fact that works of a similar character are not un- known, the Editor has endeavored to present in these pages the most modern methods and formulas. Naturally, old recipes and so-called trade secrets which have proven their value by long use are also included, particularly where no noteworthy advance has been made ; but the primary aim has been to modernize and bring the entire work up to the present date. THE EDITOR. May, 1916. Partial List of Authorities Consulted Apothecary, The. Berliner Drog. Zeitung. / Brass World. British Journal of Photography., Chemical News. Chemiker Zeitung Eepertorium. Chemisch Technische Fabrikant. Chemische Zeitung. Chemist-Druggist. Comptes Rendus. Cooley's Receipts. Cosmos. Dekorationsmaler, Der. Deutsche Drog. Zeitung. Deutsche Goldschmiede Zeitung. Deutsche Handwerk. Deutsche Maler Zeitung. Deutsche Topfer und Ziefler Zeitung. Dingler's Polytechnic Journal. Drogisten Zeitung. Druggists' Circular. English Mechanic. Farben Zeitung. Gummi Zeitung. Journal der Goldschmiedekunst. Journal of Applied Microscopy. Journal of the Franklin Institute. Journal Society of Chemical Industry. Journal Suisse d'Horlogerie. Keramische Rundschau. La Nature. La Science en Famille. La Vie Scientifique. Lack und Farben Industrie. Legierungen. Le Genie Civil. Le Praticien. Leipziger Farber und Zeugdrucker Zei- tung. Maler Zeitung. Metallarbeiter. Mining and Scientific Press. Neueste Erfindungen und Erfahrungen. Nouvelles Scientifiques. Oils, Colors, and Drysalteries. Papier-Zeitung. Parfumer, Der. Pharmaceutische Zeitung. Pharmaceutische Centralhalle. Pharmaceutische Era. Pharmaceutische Journal. Pharmaceutische Journal Formulary. Photo Times. Polytech. Centralblatt. Polyt. Notizblatt. Popular Science News. Pottery Gazette. Practical Druggist. Revue Chronometrique. Revue de la Droguerie. Revue des Produits Chimiques. Revue Industrielle. Science, Arts and Nature. Science Pratique. Seifensieder Zeitung, Der. Seifenfabrikant, Der. Spatula. Stein der Weisen, Der. Sudd. Apoth. Zeitung. Technisches Centralblatt. Technische Rundschau. Uhland's Technische Rundschau. Verzinnen Verzinken Vernickeln, Das. Werkmeister Zeitung. Wiener Drogisten Zeitung. Wiener Gewerbe Zeitung. Zeitschrift fiir die Gesammte KoHen- saure Industrie. HENLEY'S BOOK OF RECIPES ABRASION REMEDY: See Cosmetics and Ointments. ABSINTHE : See Wines and Liquors. Acid-Proofing An Acid-Proof Table Top.— 1. Copper sulphate 1 part Potassium chlorate. ... 1 part Water 8 parts Boil until salts are dissolved. Aniline hydrochlorate . 3 parts Water 20 parts Or, if more readily procurable: Aniline 6 parts Hydrochloric acid 9 parts Water 50 partS' By the use of a brush two coats of so- lution No. 1 are applied while hot; the sec- ond coat as soon as the first is dry. Then two coats of solution No. 2, and the wood allowed to dry thoroughly. Later, a coat of raw linseed oil is to be applied, using a cloth instead of a brush, in order to get a thinner coat of the oil. A writer in the Journal of Applied Microscopy states that he has used this method upon some old laboratory tables ■ which had been finished in the usual way, the wood having been filled oiled, and varnished. After scraping off the varnish down to the wood, the solutions were ap- plied, and the result was very satisfac- tory. After some experimentations the for- mula was modified without materially affecting the cost, and apparently in- creasing the resistance of the wood to the action of strong acids and alkalies. The modified formula follows: 1. Iron sulphate 4 parts Copper sulphate 4 parts Potassium permanga- nate 8 parts ^ater, q. s 100 parts 2. Aniline 12 parts Hydrochloric acid .... 18 parts Water, q. s 100 parts Or: Aniline hydrochlorate 15 parts Water, q. s 100 parts Solution No. 2 has not been changed, except to arrange the parts per hundred. The method of application is the same, except that after solution No. 1 has dried, the excess of the solution which has dried upon the surface of the wood is thor- oughly rubbed off before the application of solution No. 2. The black color does not appear at once, but usually requires a few hours before becoming ebony black. The linseed oil may be diluted with turpentine without disadvantage, and after a few applications the surface will take on a dull and not displeas- ing polish. The table tops are easily cleaned by washing with water or suds after a course of work is completed, and the application of another coat of oil puts them in excellent order for another course of work. Strong acids or alkalies when spilled, if soon wiped off, have scarcely a perceptible effect. A slate or tile top is expensive not only in its original cost, but also as a destroyer of glassware. Wood tops when painted, oiled, or paraffined have objectionable features, the latter especially in warm weather. Old table tops, after the paint or oil is scraped off down to the wood, take the above finish nearly as well as the new wood. To Make Wood Acid- and Chlorine- Proof. — Take 6 pounds of wood tar and 12 pounds rosin, and melt them together in an iron kettle, after which stir in 8 pounds finely powdered brick dust. The damaged parts must be cleaned perfectly and dried, whereupon they may be painted over with trie warm preparation or filled up and drawn off, leaving the film on the inside. Protecting Cement Against Acid. — A paint to protect cement against acid is obtained by mixing pure asbestos, very finely powdered, with a thick solution of 10 ADHESIVES sodium silicate. The sodium silicate must be as alkaline as possible. The asbestos is first rubbed with a small quantity of the silicate, until a cake is obtained and then kept in well-closed vessels. For use this cake is simply thinned with a solution of the silicate, which furnishes a paint two or three ap- plications of which protect the walls of reservoirs, etc., against any acid solid or liquid. This mass may also be em- ployed for making a coating of sand- stone. To Make Corks Impermeable and Acid-Proof. — Choose your corks care- fully. Then plunge them into a solution of gelatin or common glue, 15 parts, in 2-1 parts of glycerine and 500 parts of water, heated to H" or 48° C. (112°-120'' F.), and keep them there for several hours. On removing the corks, which should be weighted down in the solution, dry them in the shade until they are free from all surplus moisture. They are now perfectly tight, retaining at the same time the greater portion of their elasticity and suppleness. To render them acid- proof, they should be treated with a mixture of vaseline, 2 parts, and paraffine 7 parts, heated to about 105° F. This second operation may be avoided by adding to the gelatin solution a little ammonium dichromate and afterwards exposing the corks to the light. Lining for Acid Receptacles. — Plates are formed of 1 part of brown slate, 2 of powdered glass, and 1 of Portland cement, the whole worked up with sili- cate of soda, molded and dried. Make a cement composed of ground slate and silicate of soda and smear the surface for the lining; then, while it is still plastic, apply thejplates prepared as above de- scribed. Instead of these plates, slabs of glass or porcelain or similar substances may be employed with the same cement. ACACIA, MUCILAGE OF : See Adhesives under Mucilages. ACID-PROOF GLASS: See Glass. ACID-RESISTING PAINT: See Paint. ACIDS, SOLDERING: See Solders. ACID STAINS FROM THE SKIN, TO REMOVE : See Cleaning Preparations and Meth- ods. ACID TEST FOR VINEGAR; See Vinegar. Adhesives GLUES: Manufactiire of Glue. — I. — The usual process of removing the phosphate of lime from bones for elue-makmg pur- poses by means of dilute hydrochloric acid has the disadvantage that the acid cannot be regenerated. Attempts to use sulphurous acid instead have so far proved unsuccessful, as, even with the large quantities used, the process is very slow. According to a German invention this difficulty with sulphurous acid can be avoided by using it in aqueous solu- tion under pressure. The solution of the lime goes on very rapidly, it is claimed, and no troublesome precipi- tation of calcium sulphite takes place. Both phosphate of lime and sulphurous acid are regenerated from the lyes by simple distillation. II. — Bones may be treated with suc- cessive quantities of combined sulphur- ous acid and water, from which the heat of combination has been previously dis- sipated, the solution being removed after each treatment, before the bone salts dissolved therein precipitate, and before the temperature rises above 74° F. — - U. S. Pat. 783,784. III. — A patent relating to the process for treating animal sinews, preparatory for the glue factory, has been granted to Florsheim, Chicago, and consists in im- mersing animal sinews successively in petroleum or benzine to remove the outer fleshy animal skin; in a hardening or preserving bath, as boric acid, or alum or copper sulphate; and in an alkaline bath to remove fatty matter from the fibrous part of the sinews. The sinews are afterwards tanned and disintegrated. Test for Glue. — The more water the glue takes up, swelling it, the better it is. Four ounces of the glue to be exam- ined are soaked for about 12 hours in a cool place in 4 pounds of cold water. If the glue has dissolved after this time, it ■ is of bad quality and of little value; but if it is coherent, gelatinous, and weighing double, it is good; if it weighs up to 16 ounces, it is very good; if as much as 20 ounces, it may be called excellent. To Prevent Glue from Cracking. — To prevent glue from cracking, which fre- quently occurs when glued articles are ADHESIVES 11 exposed to the heat of a stove, a little chloride of potassium is added. This prevents the glue from becoming dry enough to crack. Glue thus treated will adhere to glass, metals, etc., and may also be used for pasting on labels. Preventing the Putrefaction of Strong Glues. — The fatty matter always existing in small quantity in sheets of ordinary glue affects the adhesive properties and facilitates the development of bacteria, and consequently putrefaction and de- composition. These inconveniences are remedied by adding a small quantity of caustic soda to the dissolved glue. The soda prevents decomposition absolutely; with the fatty matter it forms a hard soap which renders it harmless. Liquid Glues. — I. — Glue 3 ounces Gelatin 3 ounces Acetic acid 4 ounces Water 2 ounces Alum 30 grains Heat together for 6 hours, skim, and add: II. — Alcohol 1 fluidounce Brown glue. No. 2. . 2 pounds Sodium carbonate . . 11 ounces Water 3J pints Oil of clove 160 minims Dissolve the soda in the water, pour the solution over the dry glue, let stand over night or till thorouglily soaked and swelled, then heat carefully on a water bath until dissolved. When nearly cold stir in the oil of cloves. By using white glue, a finer article, fit for fancy work, may be made. III. — Dissolve by heating 60 parts of borax in 420 parts of water, add 480 parts dextrin (pale yellow) and 50 parts of glucose and heat carefully with con- tinued stirring, to complete solution; replace the evaporated water and pour through flannel. The glue made in this way remains clear quite a long time, and possesses great adhesive power; it also dries very quickly, but upon careless and extended heating above 90° C. (194° F.), it is apt to turn brown and brittle. IV. — Pour 50 parts of warm (not hot) water over 50 parts of Cologne glue and allow to soak over night. Next day the swelled glue is dissolved with moderate heat, and if still too thick, a little more water is added. When this is done, add from 2J to 3 parts of crude nitric acid, stir well, and fill the litjuid glue in well- corked bottles. This is a good liquid steam glue. V. — Soak 1 pound of good glue in a quaTt of water for a few hours, then melt the glue by heating it, together with the unabsorbed water, then stir in \ pound dry white lead, and when that is well mixed pour in 4 fluidounces of alcohol and continue the boiling 5 minutes longer. VI. — Soak 1 pound of good glue in 1 J, pints of cold water for 5 hours, then add S ounces of zinc sulphate and 2 fluid- ounces of hydrochloric acid, and keep the mixture heated for 10 or 12 hours at 175° to 190° P. The glue remains liquid and may be used for sticking a variety of materials. VII. — A very inexpensive liquid glue may be prepared by first soaking and then dissolving gelatin in twice its own weight of water at a very gentle heat; then add glacial acetic acid in weight equal to the weight of the dry gelatin. It should be remembered, however, that all acid glues are not generally applica- ble. Vm.— Glue .••■•.•■• 200 parts Dilute acetic acid. . 400 parts Dissolve by the aid of heat and add: Alcohol 25 parts Alum 5 parts IX. — Glue 5 parts Calcium chloride. . 1 part Water 1 part X. — Sugar of lead 11 drachms Alum 1 i drachms Gum arable 2| drachms Wheat flour 1 av. lb. Water, q. s. Dissolve the gum in 2 quarts of warm water; when cold mix in the flour, and add the sugar of lead and alum dissolved in water; heat the whole over a slow fire until it shows signs of ebullition. Let it cool, and add enough gum water to bring it to the proper consistence. XI. — Dilute 1 part of oflicial phos- phoric acid with 2 parts of water and neu- tralize the solution with carbonate of ammonium. Add to the liquid an equal quantity of water, warm it on a water bath, and dissolve in it sufficient glue to form a thick syrupy liquid. Keep in well-stoppered bottles. XII. — X)issolve 3 parts of glue in small pieces in 12 to 15 of saccharate of lime. By heating, the glue dissolves rapidly and remains liquid, when cold, without loss of adhesive power. Any desirable consistence can be secured by varying the amount of saccharate of lime. Thick glue retains its muddy color, while a thin solution becomes clear on standing. The saccharate of lime is prepared by 12 ADHESIVES dissolving 1 part of sugar in 3 parts of water, and after adding J part of- the weight of the sugar of slaked lime, heat- ing the whole from 149° to 185° P., allow- ing it to macerate for several days, shaking it frequently. The solution, which has the properties of mucilage, is then de- canted from the sediment. XIII. — In a solution of borax in water soak a good quantity of glue until it has thoroughly imbibed the liquid. Pour off the surplus solution and then put on the water bath and melt the glue. Cool down until the glue begins to set, then add, drop by drop, with agitation, enough acetic acid to check the tendency to solidification. If, after becoming quite cold, there is still a tendency to -solidification, add a few drops more of the acid. The liquid should be of the consistence of ordinary mucilage at all times. XIV.— Gelatin 100 parts Cabinetmakers' glue. 100 parts Alcohol 25 parts Alum 2 parts Acetic acid, 20 per cent 800 parts Soak the gelatin and glue with the acetic acid and heat on a water bath until fluid; then add the alum and alcohol. XV.— Glue 10 parts Water 15 parts Sodium salicylate. ... 1 part XVI. — Soak 5 parts of Cologne glue in an aqueous calcium chloride solution (1 : 4) and heat on the water bath until dissolved, replacing the evaporating water; or slack 100 parts of lime with 150 parts of hot water, dissolve 60 parts of sugar in 180 parts of water, and add IS parts of the slacked lime to the solution, heating the whole to 75° C. (167° P.). Place aside for a few days, shaking from time to time. In the clear sugar-lime solution collected by decanting soak 60 parts of glue and assist the solution by moderate heating. XVII. — Molasses, 100 parts, dissolved in 300 parts of water, 25 parts of quick- lime (slaked to powder), being then stirred in and the mixture heated to 167° P. on a, water bath, with frequent stir- rings. After settling for a few days a large portion of the lime will have dis- solved, and the clear, white, thick solu- tion, when decanted, behaves like rubber solution and makes a highly adherent coating. XVIII. — Dissolve bone glue, 250 parts, by heating in 1,000 parts of water, and add to the solution barium perox- ide 10 parts, sulphuric acid (66° B.) 5 parts, and water 15 parts. Heat for 48 hours on the water bath to 80° C. (176° P.). Thus a syrupy liquid is obtained, which is allowed to settle and is then decanted. This glue has no unpleasant odor, and does not mold. XIX. — A glue possessing the adhesive qualities of ordinary joiners' glue, but constituting a pale yellow liquid which is ready for use without requiring heating and possesses great resistance to damp- ness, is produced by treating dry casein with a diluted borax solution or with enough ammonia solution to cause a faintly alkaline reaction. The prepara- tion may be employed alone or mixed with liquid starch in any proportion. Glue for Celluloid. — I. — Two parts shellac, 3 parts spirits of camphor, and i parts strong alcohol dissolved in a warm place, give an excellent gluing agent to fix wood, tin, and other bodies to celluloid. The glue must be kept well corked up. II. — A collodion solution may be used, or an alcoholic solution of fine celluloid shavings. Glue to Form Paper Pads. — I.-^Glue 3i ounces Glycerine 8 ounces Water, a sufiBcient 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 glycerin. If the mixture is too thick, add more water. II. — Glue 6 ounces Alum 30 grains Acetic acid J ounce ^ilcohol IJ ounces Water 64 ounces Mix all but the alcohol, digest on a water bath till the glue is dissolved, allow to cool and add the alcohol. III. — Glue 5 ounces Water 1 ounce Calcium chloride. . 1 ounce Dissolve the calcium chloride in the water, add the glue, macerate until it is thoroughly softened, and then heat until completely dissolved. IV.— Glue.. 20 ounces Glycerine 5 ounces Syrupy glucose. . . 1 ounce Tannin SO grains Cover the glue with cold water, and let stand over night. In the morning pour off superfluous water, throw the ^ue on muslin, and manipulate so as to get rid of as much moisture as possible, then put in a water bath and melt. Add tiie glyc- ADHESIVES 13 erine and syrup, and stir well in. Fi- nally, dissolve the tannin in the smallest quantity of water possible and add. This mixture must be used hot. V. — Glue 15 ounces Glycerine 5 ounces Linseed oil 2 ounces Sugar 1 ounce Soak the glue as before, melt, add the sugar and glycerine, continuing the heat, and finally add the oil gradually under constant stirring. This must be used hot. Glue for Tablets.— I. — Glue SJ ounces Glycerine 8 ounces Water, a sufiicient 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 J ounce Alcohol 1 J ounces Water 6 j ounces Mix all but the alcohol, digest on a water bath till the glue is dissolved, allow to cool and add the alcohol. III. — Glue 5 ounces Water. 1 ounce Calcium chloride. . . 1 ounce Dissolve the calcium chloride in the water, add the glue, macerate until it is thoroughly softened, and then apply heat until completely dissolved. IV. — Glue, 1 pound; glycerine, 4ounces; glucose syrup, 2 tablespoonfuls; tannin, ■fa ounce. Use warm, and give an hour to dry and set on the pads. This can be colored with any aniline dye. Marine Glue. — Marine glue is a prod- uct consisting of shellac and caoutchouc, which is mixed differently according to the use for which it is required. The quantity of benzol used as solvent gov- erns the hardness or softness of the glue. I. — One part Para caoutchouc is dis- solved in 12 parts benzol; 20 parts pow- dered shellac are added to the solution, and the mixture is carefully heated. 11.^— Stronger glue is obtained by dis- solving 10 parts good crude caoutchouc in 120 parts benzine or naphtha which solution is poured slowly and in a fine stream into 20 parts asphaltum melted in a kettle, stirring constantly and heat- ing. Pour the finished glue, after the solvent has almost evaporated and the mass has become quite uniform, into flat molds, in which it solidifies into very hard tablets of dark brown or black color. For use, these glue tablets are first soaked in boiling water and then heated over a free flame until the marine glue has be- come thinly liquid. The pieces to be glued are also warmed and a very durable union is obtained. III. — Cut caoutchouc into small pieces and dissolve in coal naphtha by heat and agitation. Add to this solution pow- dered shellac, and heat the whole, con- stantly stirring until combination takes place, then pour it on metal plates to form sheets. When used it must be heated to 248° F., and applied with a brush. Water-Proof Glues. — I. — The glue is put in water till it is soft, and subse- quently melted in linseed oil at moderate heat. This glue is affected neither by water nor by vapors. II. — Dissolve a small quantity of san- darac and mastic in a, little' alcohol, and add a little turpentine. The solution is boiled in a kettle over the fire, and an equal quantity of a strong hot solution of glue and isinglass is added. Then filter through a cloth while hot. III. — Water-proof glue may also be Eroduced by the simple addition of ichromate of potassium to the liquid glue solution, and subsequent exposure to the air. IV. — Mix glue as usual, and then add linseed oil in the proportion of 1 part oil to 8 parts glue. If it is desired that the mixture remain liquid, J ounce of nitric acid should be added to every pound- of glue. This will also prevent the glue from souring. V. — In 1,000 parts of rectified alcohol dissolve 60 parts of sandarac and as much mastic whereupon add 60 parts of white oil of turpentine. Next, prepare a rather strong glue solution and add about the like quantity of isinglass, heating the solution until it commences to boil; then slowly add the hot glue solution till a thin paste forms, which can still be filtered through a cloth. Heat the solution be- fore use and employ like ordinary glue. A connection effected with this glue is not dissolved by cold water and even resists hot water for a long time. Vl. — Soak 1,000 parts of Cologne glue in cold water for 12 hours and in another vessel for the same length of time 150 parts of isinglass in a mixture of lamp spirit and water. Then dissolve both masses together on the water bath in a suitable vessel, thinning, af necessary, with some hot water. Next add 100 14 ADHESIVES parts of linseed oil varnish and filter hot through linen. VII. — Ordinary glue is kept in water until it swells up without losing its shape. Thus softened it is placed in an iron crucible without adding water; then add linseed oil according to the quantity of the glue and leave this mixture to boil over a slow fire until a gelatinous mass results. Such glue unites materials in a very durable manner. It adheres firmly and hardens quickly. Its chief advan- tage, however, consists in that it neither absorbs water nor allows it to pass through, whereby the connecting places are often destroyed. A little borax will prevent putrefaction. VIII. — Bichromate of potassium 40 parts (by weight); gelatin glue, 55 parts; alum, 5 parts. Dissolve the glue in a little water and add the bichromate of potassium and the alum. IX. — This preparation permits an ab- solutely permanent gluing of pieces of cardboard, even when they are moist- ened by water. Melt together equal parts of good pitch and gutta-percha; of this take 9 parts, and add to it 3 parts of boiled linseed oil and 1 J parts of litharge. Place this over the fire and stir it till all the ingredients are intimately mixed. The mixture may be diluted with a little benzine or oil of turpentine, and must be warm when used. Glue to Fasten Linoleum on Iron Stairs. — I. — Use a mixture of glue, isin- glass, and dextrin which, dissolved in water and heated, is given an admixture of .turpentine. The strips pasted down must be weighted with boards and brick on top until the adhesive agent has hard- ened. II. — Soak 3 parts of glue in 8 parts water, add i part hydrochloric acid and I part zinc vitriol and let this mixture boll several hours. Coat the floor and the back of the linoleum with this. Press the linoleum down uniformly and firmly and weight it for some time. Glue for Attaching Gloss to Precious Metals. — Sandarac varnish, 15 parts; marine glue, 5 parts; drying oil, 6 parts; white lead, 5 parts; Spanish white, 5 parts ; turpentine, 5 parts. Triturate all to form a rather homogeneous paste. This glue becomes very hard and resisting. Elastic Glue. — Although elastic glue is less durable than rubber, and will not stand much heat, yet it is cheaper than rubber, and is not, like rubber affected by oil colors. Hence it is largely used for printing rollers and stamps. For stamps, good glue is soaked for 24 hours in soft water. The water is poured off, and the swollen glue is melted and mixed with glycerins and a little salicylic acid and cast into molds. The durability is in- creased by painting the mass with a solu- tion of tannin, or, better, of bichromate of potassium. Printing rollers require greater firmness and elasticity. The mass for them once consisted solely of glue and vinegar, and their manufacture was very difiScult. The use of glycerine has remedied this, and gives great elas- ticity without adhesiveness, and has re- moved the liability of moldiness. Swol- len glue, which has been superficially dried, is fused with glycerine and cast into oil molds. Similar mixtures are used for casting plaster ornaments, etc., and give very sharp casts. A mass con- sisting of glue and glycerine is poured over the model in a box. When the mold is removed, it is painted with plaster out- side and with boiled oil inside, and can then be used many times for making re- productions of the model. Glue for Paper and Metal. — A glue which will keep well and adhere tightly is obtained by diluting 1,000 parts by weight of potato starch in 1,200 parts by weight of water and adding 50 parts by weight of pure nitric acid. The mixture is kept in a hot place for 48 hours, taking care to stir frequently. It is afterwards boiled to a thick and transparent consist- ency, diluted with water if there is occa- sion, and then there are added in the form of a screened powder, 2 parts of sal ammoniac and 1 part of sulphur flowers. Glue for Attaching Cloth Strips to Iron. — Soak 500 parts of Cologne glue in the evening with clean cold water in a clean vessel; in the morning pour off the water, place the softened glue without admix- ture of water into a clean copper or enamel receptacle, which is put on a mod- erate low fire (charcoal or steam appa- ratus). During the dissolution the mass must be continually stirred with a wood- en trowel or spatula. If the glue is too thick, it is thinned with diluted spirit, but not with water. As soon as the glue has reached the boiling point, about 50 parts of linseed oil varnisn (boiled oil) is added to the mass with constant stirring. When the latter has been stirred up wefl, add 50 parts of powdered colophony and shake it into the mass with stirring, subsequently removing the glue from the fire. In order to increase the binding cjualities apd to guard against moisture, it is well still to add about 50 parts of isinglass, which has been previously cut ADHESIVES 15 into narrow strips and placed, well beaten, in a vessel, into wnich enough spirit of wine has been poured to cover all. When dissolved, tne last - named mass is added to the boiling glue with constant stirring. The adhesive agent is now ready for use and is employed not, it being advisable to warm the iron also. Apply glue only to a surface equivalent to a single strip at a time. The strips are pressed down with a stiff brush or a wad of cloth. Glue for Leather or Cardboard. — To attach leather to cardboard dissolve good glue (softened by swelling in water) with a little turpentine and enough water in an ordinary glue pot, and then having made a thick paste with starch in the proportion of 2 parts by weight, of starch powder for every 1 part, by weight, of dry glue, mix the compounds and allow the mixture to become cold before appli- cation to the cardboard. For Wood, Glass, Cardboard, and all Articles of a Metallic or Mineral Char- acter. — Take boiled linseed oil 20 parts, Flemish glue 20 parts, hydrated lime 15 parts, powdered turpentine 5 parts, alum 5 parts acetic acid 5 parts. Dissolve the glue with the acetic acid, add the alum, then the hydrated lime, and finally the turpentine and the boiled linseed oil. Triturate all well until it forms a homo- geneous paste and keep in well-closed flasks. Use like any other glue. Glue for Uniting Metals with Fabrics. — Cologne glue of good quality is soaked and boiled down to the consistency of that used by cabinetmakers. Then add, with constant stirring, sifted wood ashes until a moderately thick, homogeneous mass results. Use hot and press the pieces well together during the drying. For tinfoil about 2 per cent of boracio acid should be added instead of the wood ashes. Glue or Paste for Making Paper Boxes. — Chloral hydrate 5 parts Gelatin, white 8 parts Gum arable 2 parts Boiling water 30 parts Mix the chloral, gelatin, and gum arable in a porcelain container, pour the boiling water over the mixture and let stand for 1 day, giving it a vigorous stir- ring several times during the day. In cold weather this is apt to get hard and stiff, but this may be obviated by stand- ing the container in warm water for a few minutes. This past? adheres to any surface whatever. ' Natural Glue for Cementing Porcelain. Crystal Glass, etc. — The Targe shell snails which are found in vineyards have at the extremity of their body a small, whitish bladder filled with a substance of greasy and gelatinous aspect. If this substance extracted from the bladder is applied on the fragments of porcelain or any body whatever, which are juxtaposed by being made to touch at all parts, they acquire such adhesion that if one strives to separate them by a blow, they are more liable to break at another place than the cemented seam. It is necessary to give this glue sufficient time to dry per- fectly, so as to permit it to acquire the highest degree of strength and tenacity. Belt Glue. — A glue for belts can be prepared as follows: Soak 50 parts of gelatin in water, pour off the excess of water, and heat on the water bath. With good stirring add, first, 5 parts, by weight, of glycerine, then 10 parts, by weight, of turpentine, and 5 parts, by weight, of linseed oil varnish and thin with water as required. The ends of the belts to be glued are cut off obliquely and warmed; then the hot glue is applied, and the united parts 'are subjected to strong pressure, allowing them to dry thus for 24 hours before the belts are used. Chromium Glue for Wood, Paper, and Cloth. — I.— (o) One-half pound strong glue (any glue if color is immaterial, white fish glue otherwise); soak 12 hours in 12 fluidounces of cold water. (6) One- quarter pound gelatin; soak 2 hours in 12 fluidounces cold water, (c) Two ounces bichromate of potassium dis- solved in 8 fluidounces boiling water. Dissolve (a) after soaking, in a glue pot, and add (6). After (a) and (b) are mixed and dissolved, stir in (c). This glue is exceedingly strong, and if the article cemented be exposed to strong sunlight for 1 hour, the glue becomes perfectly waterproof. Of course, it is understood that the exposure to sunlight is to be made after the glue is thoroughly dry. The one objectionable feature of this cement is its color, which is a yellow- brown. By substituting chrome alum in place of the bichromate, an olive color is obtained. II. — Use a moderately strong gelatin solution (containing 5 to 10 per cent of dry gelatin), to which about 1 part of acid chromate of potassium in solution is added to every 5 parts of gelatin. This mixture has the property of becoming in- soluble by water through the action of sunlight under partial reduction of the chromic acid. 16 ADHESIVES Fireproof Glue. — Raw linseed oil 8 parts Glue or gelatin 1 part Quicklime 2 parts Soak the glue or gelatin in the oil for 10 to 12 hours, and then melt it by gently heating the oil, and when perfectly iluid stir in the quicklime until the whole mass is homogeneous, then spread out in layers to dry gradually, out of the sun's rays. For use, reheat the glue in a glue pot in the ordinary way of melting glue. CEMENTS. Under this heading will be found only cements for causing one substance to ad- here to another. Cements used prima- rily as fillers, such as dental cements, will be found under Cements, Putties, etc. Cutlers' Cements for Fixing Knife Blades into Handles. — I. — Rosin 4 pounds Beeswax 1 pound Plaster of Paris or brickdust 1 pound II. — Pitch 5 pounds Wood ashes 1 pound . Tallow 1 pound III. — Rosin, 12; sulphur flowers, 3; iron filings, 5. Melt together, fill the handle while hot, and insert the instru- ment. IV. — Plaster of Paris is ordinarily used for fastening loose handles. It is made into a moderately thick paste with water run into the hole in the head of the pestle, the handle inserted and held in place till the cement hardens. Some add sand to the paste, a^d claim to get better results. V. — Boil together 1 part of caustic soda, 3 parts of rosin, and 5 parts of water till homogeneous and add 4 parts of plaster of Paris. The paste sets m half an hour and is but little affected by water. VI. — Equal quantities of gutta percha and shellac are melted together and well stirred. This is best done in an iron cap- sule placed on a sandbath and heated over a gas furnace or on the top of a stove. The combination possesses both hardness and toughness, qualities that make it particularly desirable in mend- ing mortars and pestles. In using, the articles to be cemented should be warmed to about the melting point of the mixture and retained in proper position until cool, when they are ready for use. VII.— Rosin 600 ) Parts Sulphur 150 ^ by Iron filings 260 ) weight. Pour the mixture, hot, into the opening of the heated handle and shove in the knife likewise heated. VIII. — Melt sufiicient black rosin, and incorporate thoroughly with it one-fifth its weight of very fine silver sand. Make the pestle hot, pour in a little of the mix- ture, then force the handle well home, and set aside for a day before using. IX. — Make a smooth, moderate^[y soft Easte with litharge and glycerine; fill the ole in the pestle with the cement, and firmly press the handle in place, keeping it under pressure for three or four days. Cements for Stone. — I. — An excellent cement for broken marble consists of 4 parts of gypsum and 1 part of finely powdered gum arable. Mix intimately. Then with a cold solution of borax make into a mortarlike mass. Smear on each face of the parts to be joined, and fasten the bits of marble together. In the course of a few days the cement becomes very hard and holds very tenaqiously. The object mended should not be touched for several days. In mending colored marbles the cement may be given the hue of the marble by adding the color to the borax solution. II. — A cement which dries instanta- neously, qualifying it for all sorts of re- pairing and only presenting the disad- vantage of having to be freshly prepared each time, notwithstanding any subse- quent heating, may be made as follows: In a metal vessel or iron spoon melt 4 to 5 parts of rosin (or preferably mastic) and 1 part of beeswax. This mixture must be applied rapidly it being of ad- vantage slightly to heat the surfaces to be united, which naturally must have been previously well cleaned. III. — Slaked lime, 10 parts; chalk, 15 parts; kaolin, 5 parts; mix. and imme- diately before use stir with a correspond- ing amount of.potash water glass. IV.— Cement on Marble Slabs.— The whole marble slab is thoroughly warmed and laid face down upon a neatly cleaned planing bench upon which a woolen cloth IS spread so as not to injure the polish of the slab. Next apply to the slab very hot, weak glue and quickly sift hot plaster of Paris on the glue in a thin even layer, stirring the plaster rapidly into the ap- plied glue by means of a strong spatula, so that a uniform glue-plaster coating is formed on the warm slab. Before this has time to harden tip the respective piece of furniture on the slab. The frame, like- wise warmed, will adhere very firmly to the slab after two days. Besides, this process has the advantage of great cleanliness. ADHESIVES 17 V. — The following is a recipe used by marble workers, and which probably can be used to advantage: Flour of sul- phur, 1 part; hydrochlorate of am- monia, 2 parts; iron filings, 16 parts. The above substances must be reduced to a powder, and securely preserved in closely stoppered vessels. When the cement is to be employed, take 20 parts very fine iron filings and 1 part of the above powder; mix them together with enough water to form a manageable paste. This paste solidifies in 20 days and becomes as hard as iron. A recipe for another cement useful for joining small pieces of marble or alabaster is as follows: Add J pint of vinegar to J pint skimmed milk; mix the curd with the whites of 5 eggs, well beaten, and suffi- cient powdered quicklime sifted in with constant stirring so as to form a paste. It resists water and a moderate degree of heat. VI. — Cement for Iron and Marble. — For fastening iron to marble or stone a good cement is made as follows: Thirty parts plaster of Paris, 10 parts iron filings, i part sal ammoniac mixed with vinegar to a fluid paste fresh for use. Cement for Sandstones. — One part sulphur and 1 part rosin are melted separately; the melted masses are mixed and 3 parts litharge and 2 parts ground glass stirred in. The latter ingredients must be perfectly dry, and have been well pulverized and mixed previously. Eciually good cement is obtained by melting together 1 part pitch and tV part wax, and mixing with 2 parts brickdust. The stones to be cemented, or be- tween the joints of which the putty is to be poured, must be perfectly dry. If eracticable, .they should be warmed a ttle, and the surfaces to which the putty is to adhere painted with oil varnish once or twice. The above two formulae are of especial value in case the stones are very much exposed to the heat of the sun in summer, as well as to cold, rain, and snow in winter. Experience has shown that in these instances the above- mentioned cements give better satisfac- tion than the other brands of cement. Cements for Attaching Objects to Glass. — Rosin 1 part Yellow wax 2 parts Melt together. To Attach Copper to Glass. — Boil 1 part of caustic soda and 3 parts of co- lophony in 5 parts of water and mix with the like quantity of plaster of Paris. This cement is not attacked by water, heat, and petroleum. If, in place of the plaster of Paris, zinc white, white lead, or slaked lime is used, the cement hard- ens more slowly. To Fasten Brass upon Glass. — Boil to- gether 1 part of caustic soda, 3 parts of rosin, 3 parts of gypsum, and 5 parts of water. The cement made in this wa^ hardens in about half an hour, hence it must be applied quickly. During the preparation it should be stirred con- stantly. AH the ingredients used must be in a finely powdered state. Uniting Glass with Horn. — (1) A solu- tion of 2 parts of gelatin in 20 parts water is evaporated up to one-sixth of its volume and J mastic dissolved in J spirit added and some zinc white stirred in. The putty is applied warm; it dries easily and can be kept a long time. (2) Mix gold size with the equal volume of water glass. To Cement Glass to Iron. — I. — Rosin 5 ounces Yellow wax 1 ounce Venetian red 1 ounce Melt the wax and rosin on a water bath and add, under constant stirring, the Venetian red previously well dried. Stir until nearly cool, so as to prevent the Ve- netian red from settling to the bottom. II. — Portland cement. ... 2 ounces Prepared chalk 1 ounce Fine sand 1 ounce Solution of sodium silicate enough to form a semi- liquid paste. m. — Litharge 2 parts White lead 1 part Work into a pasty condition by using 3 parts boiled linseed oil, 1 part copal varnish. Celluloid Cements. — I. — To mend brok- en draughting triangles and other cellu- loid articles, use 3 parts alcohol and 4 parts ether mixed together and applied to the fracture with a brush until the edges become warm. The edges are then stuck together, and left to dry for at least 24 hours. II. — Camphor, 1 part; alcohol, 4 parts. Dissolve and add equal quantity (by weight) of shellac to this solution. III. — If firmness is desired in putting celluloid on wood, tin, etc., the following gluing agent is recommended, viz.: A compound of 2 parts shellac, 3 parts spirit of camphor, and 4 parts strong alcohol. 18 ADHESIVES rV. — Shellac 2 ounces Spirits of camphor. . 2 ounces Alcohol, 90 per cent. . 6 to 8 ounces V. — Make a moderately strong glue or solution of gelatin. In a dark place or a dark room mi.x with the above a small amount of concentrated solution of potas- sium dichromate. Coat the back of the label, which must be clean, with a thin layer of the mixture. Strongly press the label against the bottle and keep the two in close contact by tying with twine or otherwise. Expose to sunlight for some hours; this causes the cement to be insol- uble even in hot water. VI. — Lime av. oz. 1 White of egg av. oz. 2^ Plaster of Paris. . . . av. oz. 5| Water fl. oz. 1 Reduce the lime to a fine powder; mix it with the white of egg by trituration, forming a uniform paste. Dilute with water, rapidly incorporate the plaster of Paris, and use the cement immediately. The surfaces to be cemented must first be moistened with water so that the ce- ment will readily adhere. The pieces must be firmly pressed together and kept in trtiis position for about 12 hours. Cementing Celluloid and Hard-Rubber Articles. — I. — Celluloid articles can be mended by making a mixture com- posed of 3 parts of alcohol and 4 parts of ether. This mixture should be Kept in a well-corked bottle, and when celluloid articles are to be mended, the broken surfaces are painted over with the alcohol and ether mixture until the surfaces soften: then press together and bind and allow to dry for at least 24 houi-s. II. — Dissolve 1 part of gum camphor' in 4 parts of alcohol; dissolve an equal weight of shellac in such strong camphor solution. The cement is applied warm and the parts united must not be dis- turbed until the cement is hard. Hard- rubber articles are never mended to form a strong joint. HI. — Melt together equal parts of gutta percha and real aspnaltum. The cement is applied hot, and the broken surfaces pressed together and held in place while cooling. Sign-Letter Cements. — I. — Copal varnish 15 parts Drying oil 5 parts Turpentine (spirits). 3 parts Oil of turpentine. ... 2 parts Liquefied glue 5 parts Melt all together on a water bath until well mixed, and then add 10 parts slaked lime. II. — Mix 100 parts finely powdered white litharge with 50 parts dry white lead, knead together 3 parts linseed oil varnish and 1 part copal varnish into a firm dough. Cfoat the side to be attached with this, removing the superfluous ce- ment. It will dry quickly and become very hard. III. — Copal varnish 15 parts Linseed-oil varnish . 5 parts Raw turpentine 3 parts Oil of turpentine .... 2 parts Carpenters' glue, dis- solved in water ... 5 parts Precipitated chalk . . 10 parts IV. — Mastic gum 1 part Litharge, lead 2 parts White lead 1 part Linseed oil 3 parts Melt together to a homogeneous mass. Apply hot. To make a thorough and reliable job, the letters should be heated to at least the temperature of the cement. To Fix Gold Letters, etc., upon Glass. — I. — The glass must be entirely clean and polished, and the medium is prepared in the following manner: One ounce fish glue or isinglass is dissolved in water so that the latter covers the glue. When this is dissolved a quart of rectified spir- it of wine is added, and enough water is poured in to make up one-quarter the whole. The substance must be kept well corked. II. — Take i quart of the best rum and J ounce fish glue, which is dissolved in the former at a moderate degree of heat. Then add i quart distilled water, and filter through a piece of old linen. The glass is laid upon a perfectly level table and is covered with this substance to the thickness of J inch, using a clean brush. Seize the gold leaf with a pointed object and place it smoothly upon the prepared mass, and it will be attracted by the glass at once. After 5 minutes hold the glass slightly slantiiig so that the superfluous mass can run off, and leave the plate in this position for 24 hours, when it will be perfectly dry. Now trace the letters or the design on a piece of paper, and perforate the lines with a thick needle, making the holes t^,; inch apart. Then place tne perforated paper upo-n the surface of the glass, and stamp the tracery on with powdered chalk. The paper pattern is then carefully removed, and the accurate design will remain upon the gold. The outlines are now filled out with an oily gold mass, mixed with a little chrome orange and diluted with boiled oil or turpentine. When all is dry the superfluous gold is washed ofi ADHESIVES 19 with water by means of a common rag. The back of the glass is then painted with a suitable color. Attaching Enamel Letters to Glass. — To affix enamel letters to glass, first clean the surface of the glass perfectly, leaving no grease or sticky substance of any kind adhering to the surface. Then with a piece of soap sketch the out- lines of the design. Make the proper division of the guide lines, and strike off accurately the position each letter is to occupy. Then to the back of the letters apply a cement made as follows: White lead ground in oil, 2 parts; dry white lead, 3 parts. Mix to a soft putty con- sistency with good copal varnish. With a small knife or spatula apply the cement to the back of the letters, observing especial care in getting the mixture well and uniformly laid around the inside edges of the letter. In at- taching the letters to the glass make sure to expel the air from beneath the char- acters, and to do this, work them up and down and sidewise. If the weather be at all warm, support the letters while drying by pressing tiny beads of sealing wax against the glass, close to the under side or bottom of the letters. With a putty knife, keenly sharpened on one edge, next remove all the sur- plus cement. Give the letters a hard, firm pressure against the glass around all edges to securely guard against the disruptive attacks of moisture. The seepage of moisture beneath the surface of the letters is the main cause of their early detachment from the glass. The removal of the letters from the glass may be effected by applying tur- pentine to the top of the characters, allowing it to soak down and through the cement. Oxalic acid applied in the same way will usually slick the letters off in a trice. Cement for Porcelain Letters.- — Slake 15 parts of fresh quicklime in 20 parts of water. Melt 50 parts of caoutchouc and 50 parts of linseed-oil varnish together, and bring the mixture to a boil. While boiling, pour the liquid on the slaked lime, little by little, under constant stir- ring. Pass the mixture, while still hot, through muslin, to remove any possible lumps, and let cool. It takes the cement 2 days to set completely, but when dry it makes a joint that will resist a great deal of strain. By thinning the inixture down with oil of turpentine, a brilliant, powerfully adhesive varnish is obtained. Water - Glass Cements. — I. — Water glass (sodium of potassium silicate), which is frequently recommended for cement- ing glass, does not, as is often asserted, form a vitreous connection between the joined surfaces; and, in fact, some of the commercial varieties will not even dry, but merely form a thick paste, which has a strong affinity for moisture. Good 30° B. water glass is, however, suitable for mending articles that are ex- posed to heat, and is best applied to sur- faces that have been gently warmed; when the pieces are put together they should be pressed warmly, to expel any superfluous cement, and then heated strongly. To repair cracked glasses or bottles through which water will leak, water glasses may be used, the application being effected in the following easy manner: The vessel is warmed to induce rarefaction of the internal air, after which the mouth is closed, either by » cork in the case of bottles, or by a piece of parchment or bladder if a wide- mputhed vessel is under treatment. While still hot, the outside of the crack is covered with a little glass, and the vessel set aside to cool, whereupon the difference between the pressure of the external and internal air will force the cement into the fissure and close it completely. All that is then necessary is to take off the cover and leave the vessel to warm for a few hours. Sub- sequently rinse it out with lime water, followed by clean water, and it will then hold any liquid, acids and alkaline fluids alone excepted. II. — When water glass is brought into contact with calcium chloride, a cal- cium silicate is at once formed which is insoluble in water. It seems possible that this reaction may be used m bind- ing together masses of sand, etc. The process indicated has long been used in the preservation of stone which has be- come "weathered." The stone is first brushed with the water glass and after- wards with a solution of calcium chlor- ide. The conditions here are of course different. Calcium chloride must not be con- founded with the so-called " chloride of lime " which is a mixture of calcium hy- pochlorite and other bodies. To Fasten Paper Tickets to Glass —To attach paper tickets to glass, the em- ployment of water glass is efficacious. Care should be taken to spread this prod- uct on the glass and not on the paper, and then to apply the paper dry, which should be done immediately. When the solution is dry the paper cannot be de- 20 ADHESIVES tached. The silicate should be some- what diluted. It is spread on the glass with a rag or a small sponge. JEWELERS' CEMENTS. Jewelers and goldsmiths require, for the cementing of genuine and colored gems, as well as for the placing of col- ored folio under certain stones, very adhesive gluing agents, which must, however, be colorless. In this respect these are distinguished chiefly by the so-called diamond cement and the regu- lar jewelers' cement. Diamond ce- ment is much esteemed by jewelers for cementing precious stones and corals, but may also be employed with ad- vantage for laying colored fluxes of glass on white glass. The diamond cement is of such a nature as to be able to remain for some time in contact with water without becoming soft. It ad- heres best between glass or between pre- cious stones. It is composed as follows: Isinglass 8 parts, gum ammoniac 1 part, galbanum 1 part, spirit of wine 4 parts. Soak the isinglass in water with admix- ture of a little spirit of wine and add the solution of the gums in the remainder of the spirit of wine. Before use, heat the diamond cement a little so as to soften it. Jewelers' cement is used for similar purposes as is the diamond ce- ment, and is prepared from: Isinglass (dry) 10 parts, mastic varnish 6 parts. Dissolve the isinglass in very little water, adding some strong spirit of wine. The mastic varnish is prepared by pouring a mixture of highly rectified spirit of wine and benzine over finely powdered mastic and dissolving it in the smallest possible quantity of liquid. The two solutions of isinglass and mastic are in- timately ground together in a porcelain dish. Armenian Cement. — The celebrated " Armenian " cement, so called formerly used by Turkish and Oriental jewelers generally, for setting precious stones, "facing diamonds," rubies, etc., is made as follows: Mastic gum 10 parts Isinglass (fish glue) . 20 parts Gum ammoniac .... 5 parts Alcohol absolute .... 60 parts Alcohol, 50 per cent. . 36 parts Water 100 parts Dissolve the mastic in the absolute alcohol; dissolve, by the aid of gentle heat, on the water bath, the isinglass in the water, and add 10 parts of the dilute alcohol. Now dissolve the ammoniacum in the residue of the dilute alcohol. Add the first solution to the second, mix thor- oughly by agitation and then add the solution of gum ammoniac and stir well • in. Finally put on the water bath, and keeping at a moderate heat, evaporate the whole down to 175 parts. Cement for Enameled Dials. — The following is a good cement for enameled dials, plates, or other pieces: Grind into a fine powder 2J parts of dammar rosin and s!i parts of copal, using colorless pieces if possible. Next add 2 parts of Venetian turpentine and enough spirit of wine so that the whole forms a thick paste. To this grind 3 parts of the finest zinc white. The mass now has the consistency of prepared oil paint. To remove the yellow tinge of the cement add a trifle of Berlin blue to the zinc white. Finally, the whole is heated until the spirit of wine is driven off and a molt- en mass remains, which is allowed to cool and is kept for use. Heat the parts to be cemented. Watch -Lid Cement. — The hardest ce- ment for fixing on watch lids is shellac. If the lids are exceedingly thin the en- graving will always press through. Be- fore cementing it on the inside of the lid, in order not to injure the polish, it is coated with chalk dissolved in alcohol, which is first allowed to dry. Next melt the shellac on the stick, heat the watch lid and put it on. After the engraving has been done, simply force the lid off and remove the remaining shellac from the latter by light tapping. If this does not remove it completely lay the lid in alco- hol, leaving it therein until all the shel- lac has dissolved. AH that remains to be done now is to wash out the watch lid. Jewelers' Glue Cement. — Dissol-e on a water bath 50 parts of fish glue in a little 95-per-cent alcohol, adding 4 parts, by weight, of gum ammomac. On the other hand, dissolve 2 parts, by weight, of mastic in 10 parts, hy weight, of alcohol. Mix these two solutions and preserve in a well-corked flask. For use it suffices to soften it on the water bath. Casein Cements. — I. — Borax 5 parts Water 95 parts Casein, sufficient quantity. Dissolve the borax in water and in- corporate enough casein to produce a mass of the proper consistency. II. — The casein is made feebly alka- line by means of soda or potash lye and ADHESIVES 21 then subjected for about 24 hours to a temperature of 1^0° F. Next follow the customary admixture, such as lime and water glass, and finally, to accom- plish a quicker resinification, substances containing tannin are added. ' For tan- nic admixtures to the partially disinte- grated casein, slight quantities — about 1 per cent — of gallic acid, cutch, or quercitannic acid are employed. The feebly alkaline casein cement contain- ing tannic acid is used in the well-known manner for the gluing together of wood. For Metals. — Make a paste with 16 ounces casein, 20 ounces slaked lime, and 20 ounces of sand, in water. For Glass. — I. — Dissolve casein in a concentrated solution of borax. II. — Make a paste of casein and water glass. Pasteboard and Paper Cement. — I. — Let pure glue swell in cold water; pour and press off the excess; put on the water bath and melt. Paper or other material cemented with this is then immediately, before the cement dries, submitted to the action of formaldehyde and dried. The cement resists the action of water, even hot. II. — Melt together equal parts of good pitch and gutta percha. To 9 parts of this mass add 3 parts of boiled linseed oil and J part litharge. The heat is kept up until, with constant stirring, an intimate union of all the in- gredients has taken place. The mix- ture is diluj^ed with a little benzine or oil of turpentine and applied while still warm. The cement is waterproof. III. — The National Druggist says that experience with pasting or cement- ing parchment paper seems to show that about the best agent is casein cement, made by dissolving casein in a saturated aqueous solution of borax. IV. — The following is recommended for paper boxes: Chloral hydrate 5 parts Gelatin, white 8 parts Gum arable 2 parts Boiling water 30 parts Mix the chloral, gelatin, and gum arable in a porcelain container, pour the boiling water over the mixture and let stand for 1 day, giving it a vigorous stirring several times during the day. In cold weather this is apt to get hard and stiff, but this may be obviated by standing the container in warm water for a few minutes. This paste adheres to any surface whatever. Waterproof Cements for Glass, Stone- ware, and Metal. — I. — Make a paste of sulphur, sal ammoniac, iron filings, and boiled oil. II. — Mix together dry : Whiting, 6 pounds; plaster of Paris, 3 pounds; sand, 3 pounds; litharge, 3 pounds; rosin, 1 pound. Make to a paste with copal varnish. III. — Make a paste of boiled oil, 6 pounds; copal, 6 pounds; litharge, 2 pounds; white lead, 1 pound. IV. — Make a paste with boiled oil, 3 pounds; brickdust 2 pounds; dry slaked lime, 1 pound. V. — Dissolve 93 ounces of alum and 93 ounces of sugar of lead in water to concentration. Dissolve separately 152 ounces of gum arabic in 25 gallons of water, and then stir in 62J pounds of flour. Then heat to a uniform paste with the metallic salts, but take care not to boil the mass. VI. — For Iron and Marble to Stand in Heat. — In 3 pounds of water dissolve first, 1 pound water glass and then 1 pound of borax. With the solution make 2 pounds of clay and 1 pound of barytes, first mixed dry, to a paste. VII. — Glue to Resist Boiling Water. ^ — ■ Dissolve separately in water 55 pounds of glue and a mixture of 40 pounds of bichromate and 5 pounds of alum. Mix as wanted. VIII. (Chinese Glue). — Dissolve shel- lac in 10 times its weight of ammonia. IX. — Make a paste of 40 ounces of dry slaked lime 10 ounces of alum, and 50 ounces of white of egg. X.— Alcohol 1,000 parts Sandarac 60 parts Mastic 60 parts Turpentine oil ... . 60 parts Dissolve the gums in the alcohol and add the oil and stir in. Now prepare a solution of equal parts of glue and isinglass, by soaking 125 parts of each in cold water until it becomes saturated, pouring and pressing off the residue, and melting on the water bath. This should produce a volume of glue nearly equal to that of the solution of gums. The latter should, in the meantime, have been cautiously raised to the boiling point on the water bath, and then mixed with the hot glue solution. It is said that articles united with this substance will stand the strain of cold water for an unlimited time, and it takes hot water even a long time to affect it. ADHESIVES SI. — Burgundy pitch 6 parts Gutta percna 1 part Pumice stone, in fine powder 3 parts Melt the gutta percha very carefully add the pumice stone, and lastly the pitch, and stir until homogeneous. Use while still hot. This cement will withstand water and dilute mineral acids. LEATHER AND RUBBER CEMENTS. I. — Use a melted mixture of gutta Eercha and genuine asphalt, applied ot. The hard-rubber goods must be kept pressed together until the cement has cooled. II.— A cement which is effective for cementing rubber to iron and which is especially valuable for fastening rub- ber bands to handsaw wheels is made as follows: Powdered shellac, 1 part; strong water of ammonia, 10 parts. Put the shellac in the ammonia water and set it away in a tightly closed jar for 3 or 4 weeks. By that time the mixture will become a perfectly liquid transpar- ent mass and is then ready for use. When applied to rubber the ammonia softens it, but it quickly evaporates, leav- ing the rubber in the same condition as before. The shellac clings to the iron and thus forms a firm bond between the iron and the rubber. III. — Guttapercha, white. 1 drachm Carbon disulphide. . 1 ounce Dissolve, filter, and add: India rubber 15 grains Dissolve. Cement for Metal on Hard Rubber. — I. — Soak good Cologne glue and boil down so as to give it the consistency of joiners' glue, and add. with constant stirring, enough sifted wood ashes until a homo- geneous, moderately thick mass results. Use warm and fit the pieces well together while drying. How to Unite Rubber and Leather. — II. — Roughen both surfaces, the leather and the rubber, with a sharp glass edge; apply to both a diluted solution of gutta percha in carbon bisulphide, and let this solution soak into the material. Then press upon each surface a skin of gutta percha iV of an inch in thickness between rolls. The two surfaces are now united in a press, which should be warm but not hot. This method should answer in all cases in which it is applicable. The other prescription covers cases in which a press cannot be used. Cut 30 parts of rubber into small pieces, and dissolve i it in 140 parts of carbon bisulphide, the vessel being placed on a water bath of \ 30° C. (86° F.). Further, melt 10 parts I of rubber with 15 of colophony, and add 35 parts of oil of turpentine. When the rubber has been completely dissolved, the two liquids may be mixed. The resulting cement must be kept well corked. To Fasten Rubber to Wood.— I.— Make a cement by macerating virgin gum rubber, or as pure rubber as can be had, cut in small pieces, in just enough naphtha or gasoline to cover it. Let it stand in a very tightly corked or sealed jar for 14 days, or a sufficient time to become dissolved, shaking the mixture daily. II. — Dissolve pulverized gum shellac, 1 ounce, in 9 J ounces of strong ammonia. This of course must be kept tightly corked. It will not be as elastic as the first preparation. III. — Fuse together shellac and gutta percha in equal weights. IV. — India rubber 8 ounces Gutta percha 4 ounces Isinglass 2 ounces Bisiuphide of carbon 32 ounces V. — India rubber 5 ounces Gum mastic 1 ounce Chloroform 3 ounces VI. — Gutta percha 16 ounces India rubbc* 4 ounces Pitch 4 ounces Shellac 1 ounce Linseed oil 1 ounce Amalgamate by heat. VII. — Mix 1 ounce of oil of turpentine with 10 ounces of bisulphide of carbon in which as much gutta percha as possible has been dissolved. VIII. — Amalgamate by heat: Gutta percha 100 ounces Venice turpentine. 80 ounces Shellac 8 ounces India rubber 2 ounces Liquid storax 10 ounces IX. — Amalgamate by heat: India rubber 100 ounces Rosin IS ounces Shellac 10 ounces Then dissolve in bisulphide of carbon. X. — Make the following solutions sep' arately and mix: (a) India rubber 5 ounces Chloroform 140 ounces (h) India rubber 5 ounces Rosin 2 ounces Venice turpentine. 1 ounce Oilof turpentine. . 20 ounces ADHESIVES Cement for Patching Rubber Boots and Shoes. — I. — India rubber, finely chopped 100 parts Rosin '. 15 parts Shellac 10 parts Carbon disulphide, q. s. to dissolve. This will not only unite leather to leather, India rubber, etc., but will unite rubber to almost any substance. II. — Caoutchouc, finely cut 4 parts India rubber, finely cut 1 part Carbon disulphide ... 32 parts Dissolve the caoutchouc in the carbon disulphide, add the rubber, let macer- ate a few days, then mash with a palette knife to a smooth paste. The vessel in which the solution is made in both instances above must be kept tightly closed, and should have frequent agita- tions. III. — Take 100 parts of crude rubber or caoutchouc, cut it up in small bits, and dissolve it in sufficient carbon bisul- phide, add to it 15 parts of rosin and 10 parts of gum lac. The user must not overlook the great inflammability and exceedingly volatile nature of the carbon bisulphide. Tire Cements. — I. — India rubber 15 grams Chloroform 2 ounces Mastic i ounce Mix the India rubber and chloroform together, and when dissolved, the mastic is added in powder. It is then allowed to stand a week or two before using. II. — ^The following is recommended as very good for cementing pneumatic tires to bicycle wheels: Shellac 1 ounce Gutta percha 1 oimce Sulphur 45 grains Red lead 45 grains Melt together the shellac and gutta per- cha, then add, with constant stirring, the sulphur and red lead. Use while hot. III. — Raw gutta percha . . 16 ounces Carbon bisulphide. 72 ounces Eau de Cologne. . . . 2§ ounces This cement is the subject of an Eng- lish patent and is recommended for patching cycle and motor tires, insulat- ing electric wires, etc. I V. — A good thick shellac varnish with which a small amount of castor oil has been mixed will be found a very excellent bicycle rim cement. The formula rec- ommended by £del is as follows; Shellac 1 pound Alcohol 1 pint Mix and dissolve, then add: Castor oil J ounce The castor oil prevents the cement from becoming hard and brittle. A cement used to fasten bicycle tires may be made by melting together at a gentle heat equal parts of gutta percha and asphalt. Apply hot. Sometimes a small quantity each of sulphur and red lead is added (about 1 part of each to 20 parts of cement). Cements for Leather. — I. — Gutta percha 20 parts Syrian asphalt, pow- dered 20 parts Carbon disulphide. . 50 parts Oil of turpentine ... 10 parts The gutta percha, shredded fine, is dissolved in the carbon disulphide and turpentine oil. To the solution add the asphalt and set away for several days, or until the asphalt is dissolved. The cement should have the consistency of honey. If the preparation is thinner than this let it stand, open, for a few days. Articles to be patched should first be washed with benzine. II. — Glue 1 ounce Starch paste 2 ounces Turpentine 1 drachm Water, a sufficient quantity. Dissolve the g!ue in sufficient water with heat; mix the starch paste with water; add the turpentine, and finally mix with the glue while hot. III. — Soak for one day 1 pound of com- mon glue in enough water to cover, and 1 pound of isinglass in ale droppings. Then mix together and heat gently un- til boiling. At this fjint add a little gure tannin and keep boiling for an our. If the glue and isinglass when mixed are too thick, add water. Phis cement should be used warm and the jointed leather pressed tightly together for 12 hours. IV. — A waterproof cement for leather caoutchouc, or balata, is prepared by dissolving gutta percha, caoutchouc, benzoin, gum lac, mastic, etc., in some convenient solvent like carbon disul- phide, chloroform, ether, or alcohol. The best solvent, however, in the case ox gutta percha, is carbon disulphide, and ether for mastic. The most favorable proportions are as follows: Gutta percha, 200 to 300 parts to 100 parts of the sol- vent, and 75 to 85 parts of mastic to 100 parts of ether. From 5 to 8 parts of the former solution are mixed with 1 24 ADHESIVES part of the latter, and the mixture is then boiled on the water bath, or in a vessel fitted with a water jacket. v.— Make a solution of 200 to 300 parts of caoutchouc, gutta percha, india rubber, benzoin, or similar gum, in 1,000 parts of carbon disulphide, chloroform, ether, or alcohol, and of this add 5 to 8 parts to a solution of mastic (75 to 125 parts) in ether 100 parts, of equal volume and boil together. Use hot water as the boiling agent, or boil very cautiously on the water bath. VI. — Forty parts of aluminum ace- tate, 10° B., 10 parts of glue, 10 parts of rye flour. These materials are either to be simultaneously mixed and boiled, or else the glue is to be dissolved in the aluminum acetate, and the flour stirred into the solution. This is an excellent cement for leather, and is used in so- called art work with leather, and with leather articles which are made of sev- eral pieces. It is to be applied warm. Rubber Cement for Clotli.— The fol- lowing formulas have been recommended: I. — Caoutchouc, 5 parts; chloroform, 3 parts. Dissolve and add gum mastic (powder) 1 part. II. — Gutta percha, 16 parts; india rub- ber, 4 parts; pitch, 2 parts; shellac, 1 part; linseed oil, 2 parts. Reduce the solids to small pieces, melt together with the oil and mix well. III. — The following cement for mend- ing rubber shoes and tires will answer similar purposes: Caoutchouc in shavings . . 10 J Parts Rosin 4 >■ by Gum turpentine 40 ) weight. Oil turpentine, enough. Melt together first the caoutchouc and rosin, then add the gum turpentine, and when all is liquefied, add enough of oil of turpentine to preserve it liquid. A second solution is prepared by dissolv- ing together: Caoutchouc 10 ) Parts Chloroform 280 f ^ei^ht. For use these two solutions are mixed. Wash the hole in the rubber shoe over with the cement, then a piece of linen dipped in it is placed over it; as soon as the linen adheres to the sole, the cement is then applied as thickly as re- quired. CEMENTS FOR METALS AND FOR AT- TACHING VARIOUS SUBSTANCES TO METALS: Cements for Iron. — I. — To make a good cement for iron on iron, make a thick paste, with water, of powdered iron, 60 parts; sal ammoniac, 2 parts, and sulphur flowers, 1 part. Use while fresh. II. — Sulphur flowers, 6 parts; dry white lead 6 parts, and powdered borax, 1 part. Mix by sifting and keep as a dry powder in a closed tin box. To use, make into a thin paste with strong sul- phuric acid and press together immedi- ately. This cement will harden in 5 days. III. — Graphite SO pounds Whiting 15 pounds Litharge 15 pounds Make to a paste with a boiled oil. IV. — Make a paste of white lead and asbestos. V. — Make a paste of litharge and glyc- erine. Red lead may be added. This also does for stone. VI. — Make a paste of boiled oil of equal parts of white lead, pipe clay, and black oxide of manganese. VII. — Make iron filings to a paste with water glass. Vin. — Sal ammoniac. ... 4 ounces Sulphur 2 ounces Iron filings 32 ounces Make as much as is to be used at once to a paste with a little water. This re- mark applies to both the following dry recipes: IX. — Iron filings 160 ounces Lime 80 ounces Red lead 16 ounces Alum 8 ounces Sal ammoniac. . . 2 ounces X. — Clay 10 ounces Iron filings 4 ounces Salt 1 ounce Borax 1 ounce Black oxide of manganese ... 2 ounces XL— Mix: Iron filings 180 ounces Lime 45 ounces Salt 8 ounces XII.— Mix: Iron filings 140 ounces Hydraulic lime . . 20 ounces Sand 25 ounces Sal ammoniac. . . 3 ounces Either of these last two mixtures is made into a paste with strong vinegar just before use. XIII. — Mix equal weights of zinc oxide and black oxide of manganese into a paste with water glass. XlVt — Copal varnish, 15 parts; hy- drated lime, 10 parts; glue de nerfs (of sinews), 5 parts; fat drying oil, 5 parts; ADHESIVES 25 powdered turpentine, 3 parts; essence of turpentine, 2 parts. Dissolve the glue de nerfs on the water bath, add all the other substances, and triturate inti- mately. XV. — Copal varnish, 15 parts; pow- dered turpentine, 3 parts; essence of tur- pentine, 2 parts; powdered fish glue, 3 partsi iron filings, 3 parts; ocher, 10 parts. XVI. — To make a cement for cast iron, take 16 ounces cast-iron borings; 2 ounces sal ammoniac, and 1 ounce sulphur. Mix well and keep dry. When ready to use take 1 part of this powder to 20 parts of cast-iron borings and mix thorougnly into a stiff paste, adding a little water. XVII. — Litharge 2 parts Boiled linseed oil 2 parts White lead 1 part Copal 1 part Heat together until of a uniform con- sistence and apply warm. XVIII. — A cement for iron which is said to be perfectly waterproof and fire- proof is made by working up a mixture of equal weights of red lead and litharge with glycerine till the mass is perfectly homogeneous and has the consistency of a glazier's putty. This cement is said to answer well, even* for very large iron vessels, and to be unsurpassable for stopping up cracks in large iron pans of steam pipes. Cement for Metal, Glass, and Porce- lain. — A soft alloy is prepared by mixing from 30 to 36 parts of copper precipi- tated in the form of a fine brown powder, with sulphuric acid of a specific gravity of 1.85. in a cast-iron or porcelain mor- tar and incorporating by stirring with 75 parts of mercury, the acid being after- wards removed by washing with water. In from 10 to 14 hours the amalgam be- comes harder than tin, but when heated to 692° F., it can be kneaded like wax. In this condition it is applied to the surface to Be cemented, and will fix them firmly together on cooling. Dissolve 1 drachm of gum mastic in 3 drachms of spirits of wine. In a sep- arate vessel containing water soak 3 drachms of isinglass. When thoroughly soaked take it out of the water and put it into 5 drachms of spirits of wine. Take a piece of gum ammoniacum the size of a large pea and grind it up finely with a little spirits of wine and isinglass until it has dissolved. Then mix the whole together with sufficient heat. It will be found most convenient to place the vessel on a 'hot-water bath. Keep this cement in a bottle closely stoppered, and when it is to be used, place it in hot water until dissolved. Cements for Fastening Porcelain to Metal. — I. — Mix equal parts of alcohol (95 per cent) and water, and make a paste by incorporating the liquid with 300 parts of finely pulverized chalk and 250 parts of starch. II. — Mix finely powdered burned lime, 300 parts, with powdered starch, 250 parts, and moisten the mixture with a compound of equal parts of water and alcohol of 96 per cent until a paste results. III. — Cement or plaster can be used if the surfaces are sufficiently large; cement is the better article when the object may be exposed to moisture or subjected to much pressure. A process which can be recommended consists in mingling equal weights of chalk, brick- dust, clay, and Remain cement. These materials, pulverized and sifted, are in- corporated with linseed oil in the pro- portion of half a kilo of oil to 3 kilos of the mingled powder. The Remain or Romanic cement is so designated from the district in France where the calca- reous stone from which it is prepared is found in considerable quantity. Al- though its adhesive qualities are unques- tioned, there are undoubtedly American cements equally as good. IV. — Acetate of lead, 46^ parts by weight; alum, 46J parts by weight; gum arable, 76 parts by weight; flour, 500 parts by weight; water, 2,000 parts by weight. Dissolve the acetate of lead and the alum in a little water; on the other hand dissolve the gum arable in water by pouring, for instance, the 2 liters of boiling water on the gum arable reduced to powder. When the gum has dissolved, add the flower, put all on the fire, and stir well with a piece of wood; then add the solution of acetate of lead and the alum; agitate well so as to pre- vent any lumps from forming; retire from the fire before allowing to boil. This glue is used cold, does not peel off, and is excellent to make wood, glass, card- board, etc. adhere to metals. Cement for Leather and Iron. — To face a cast-iron pulley with leather apply acetic acid to the face of the pulley with a brush, which will roughen it by rusting, and then when dry apply a cement made of 1 pound of fish glue and J pound of common glue, melted in a mixture of alcohol and water. The leather should then be placed on the pulley and dried under pressure. 26 ADHESIVES Amber Cements. — I. — To solder to- gether two pieces of yellow amber, slightly heat the parts to be united and moisten them with a solution of caustic soda; then bring the two pieces together quickly. II. — Dissolve in a closed bottle 75 parts of cut-up caoutchouc in 60 parts of chloroform. Add 15 parts of mastic and let the mixture stand in the cold until all has dissolved. III. — Moisten the pieces to be joined with caustic potash and press them to- gether when warm. The union is so perfect that no trace of the juncture is visible. A concentrated alcoholic solu- tion of the rosin over the amber, soluble in alcohol, is also employed for this pur- pose. Another medium is a solution of hard and very finely powdered copal in pure sulphuric ether. Coat both fractures, previously well cleaned, with this solution and endeavor to combine them intimately by tying or pressing. IV. — In 30 parts by weight of copal dissolve 30 parts by weight of alumina by means of a water bath. Bathe the surface to be cemented with this gelat- inous liquid, but very slightly. Unite the fractures and press them together firmly until the mixture is dry. Acid-Proof Cements for Stoneware and Glass. — I. — Mix with the aid of heat equal weights of pitch, rosin, and plaster of Paris. II. — Mix silicate of soda to a paste with ground glass. III. — Mix boiled oil to a paste with china clay. IV. — Mix coal tar to a paste with pipe clay. v.— Mix boiled oil to a paste with quicklime. VI.— Mix with the aid of heat: Sul- phur, 100 pounds; tallow, 2 pounds; rosin, 2 pounds. Thicken with ground glass. VII. — Mix with the aid of heat: Rosin. 2 pounds; sulphur, 2 pounds; brickdust, 4 pounds. VIII.— Mix with the aid of heat 2 Counds of India rubber and 4 pounds of oiled oil. Thicken with 12 pounds of pipe clay. IX.-;-Fuse 100 pounds of india rub- ber with 7 pounds of tallow. Then make to a paste with dry slaked lime and finally add 20 pounds of red lead. X. — Mix with the aid of heat: Rosin, 24 pounds; red ocher, 8 pounds; boiled oil, 2 pounds; plaster of Paris, 4 pounds. Acid-Proof Cement for Wood, Metals, etc. — I. — Powdered asbestos. . . 2 parts Ground baryta 1 part Sodium water-glass so- lution 2 parts Mix. II. — To withstand hot nitric acid the following is used: Sodium water-glass so- lution 2 parts Sand 1 part Asbestos 1 part Mix. m. — Asbestos 2 parts Sulphate of barium. . . 3 parts Silicate of sodium .... 2 parts By mixing these ingredients a cement strong enough to resist the strongest nitric acid will be obtained. IV. — If hot acids are dealt with, the following mixture will be found to possess still more resistant powers: Silicate of sodium (50° Baume) 2 parts Fine sand 1 part Asbestos 1 part Both these cements take a few hours to set. If the cement is wanted to set at once, use silicate of potassium, instead of silicate of sodium. This mixture will be instantly effective and possesses the same power of resistance as the other. Directions for Repairing Broken Glass, Porcelain, Bric-a-Brac. — Broken glass, china, bric-a-brac, and picture frames, not to name casts, require each a differ- ent cement — in fact, several different cements. Glass may be beautifully mended to look at, but seldom so as to be safely used. For clear glass the best cement is isinglass dissolved in gin. Put 2 ounces of isinglass in a clean, wide- mouthed bottle, add half a pint of gin, and set in the sun until dissolved. Shake well every day, and before using strain through double lawn, squeezing very gently. Spread a white cloth over the mend- ing table and supply it with plenty of clean linen rags, strong rubber bands, and narrow white tape, also a basin of tepid water and a clean soft towel. Wash the broken glass very clean, especially along the break, but take care not to chip it further. Wet both broken edges well with the glue, using a camel's-hair pencil. Fit the break to a nicety, then slip on rubber bands length- and cross- wise, every way they will hold. If they will not hold tine as upon a stemmed ADHESIVES 27 thing, a vase or jug or scent bottle, string half a dozen bands of the same size and strength upon a bit of tape, and tie the tape about neck or base before beginning the gluing. After the parts are joined slip another tape through the same bands and tie it above the fracture; thus with all their strength the bands pull the break together. The bands can be used thus on casts of china — in fact, to hold anything mendable. In glass mending the greater the pressure the better — if only it stops short of the break- ing point. Properly made the isinglass cement is as clear as water. When the pieces fit true one on the other the break should be hardly visible, if the pressure has been great enough to force out the tiny bubbles, which otherwise refract the light and make the line of cleavage distressingly apparent. Mended glass may be used to hold dry things — as rose leaves, sachets, violet powder, even can- dies and fruits. But it will not bear to have any sort of liquid left standing in it, nor to be washed beyond a quick rinsing in tepid water. In wiping always use a very soft towel, and pat the vessel dry with due regard to its infirmities. Mend a lamp loose in the collar with sifted plaster of Paris mixed to a very soft paste with beaten white of egg. Have everything ready before wetting up the plaster, and work quickly so it may set in place. With several lamps to mend wet enough plaster for one at a time. It takes less than 5 minutes to set, and is utterly worthless if one tries working it over. Metal work apart from the glass needs the soldering iron. Dust the break well with powdered rosin, tie the parts firmly together, lay the stick of solder above the break, and fetch the iron down on it lightly but firmly. When the solder cools, remove the melted rosin with a cloth dipped in alcohol. Since breakables have so unhappy a knack of fracturing themselves in such fashion they cannot possibly stand up- right, one needs a sand box. It is only a box of handy size with 8 inches of clean, coarse sand in the bottom. Along with it there should be some small leaden weights, with rings cast in them, run- ning from an ounce to a quarter pound. Two of each weight are needed. In use, tapes are tied to the rings, and the pair of weights swung outside the edges of the box, so as to press in place the upper part of a broken thing to which the tapes nave been fastened. Set broken platters on edge in the sand box with the break up. The sand will hold them firm,' and tne broken bit can be slapped on. It is the same with plates and saucers. None of these com- monly requires weighting. But very fine pieces where an invisible seam is wanted should be held firm until partly set, then have the pair of heaviest weights accurately balanced across the brolcen piece. The weights are also very useful to prop and stay topheavy articles and balance them so they shall not get out of kilter. A cup broken, as is so com- mon with cups, can have the tape passed around it, crossing inside the handle, then be set firmly in the sand, face down, and be held by the hanging weights pulling one against the other. The mo.st dependable cement for china is pure white lead, ground in linseed oil, so thick it will barely spread smoothly with a knife. Given time enough to harden (some 3 months), it makes a seam practically indestructible. The objec- tion to it is that it always shows in a staring white line. A better cement for fine china is white of egg and plaster. Sift the plaster three times and tie a generous pinch of it loosely in mosquito netting. Then beat the egg until it will stick to the plaster. Have the broken egg very clean, cover both with the beaten egg, dust well with the plaster, fit together at once, tie, using rubber bands if possible, wrap loosely in very soft tissue paper, and bury head and ears in the sand box, taking care that the break lies so that the sand will hold it together. Leave in the box 24 hours. After a week the su- perfluous plaster may be gently scraped away. General Formulas for Cements for Repairing Porcelain, Glassware, Crock- ery, Plaster, and Meerschaum. — I. — An excellent cement for joining broken crockery and similar small articles can be made by melting 4 or 5 parts of rosin (or, better still, gum mastic) with 1 part of beeswax in an iron spoon or similar vessel. Apply while hot. It will not stand great neat. , II. — An excellent cement for porcelain and stoneware is obtained by mixing 20 parts of fish glue with an equal weight of crystallizable acetic acid and evapo- rate the mixture carefully to a syrupy consistency so that it forms a gelatinous mass on cooling. For use the cement thus obtained is made liquid again by heating and applied to the fracture with a brush. The pieces should now be pressed firmly together, by winding a twine tightly around them, until the cement has hardened. III. — For luting vessels made of glass, 28 ADHESIVES Eorcelain, etc., which are to be used to old strong acids, a mixture of asbestos powder, water glass, and an indifferent pow- der (permanent white, sand, etc.) is rec- ommended. To begin with, asbestos powder is made into a pulp with three or four times the quantity (weight) of a solution of soda water glass (of 30° B.). The same is exceedingly fat and plastic, but is not very well suited for working, as it shrinks too much and cracks when drying. By an addition of fine writing sand of the same weight as the asbestos used, the mass can be made less fat, so as to obviate shrinking, without detracting from the plasticity. Small vessels were molded from it and dried in the air, to be tested afterwards. Put in water, the hardened mass becomes soft again and falls apart. Brought into contact, however, with very strong min- eral acids, it becomes even firmer and withstands the liquid perfectly. Con- centrated nitric acid was kept in such small vessels without the mass befng visibly attacked or anything penetrating it. The action of the acid manifestly has the effect that silicic acid is set free from the water glass in excess, which clogs up the pores entirely and con- tributes to the lutation. Later on, the mass cannot be dissolved by pure water any more. The mass is also highly fire- proof. One of the molded bodies can be kept glowing in a Bunsen gas flame for about half a day after treatment with acid, without slagging in the least. For many purposes it ought to be welcome to have such a mass at hand. It cannot be kept ready for use, however, as it hardens a few hours after being pre- pared; if potash water glass is used, in- stead of the soda composition, this in- duration takes place still more quickly. IV. — Cement for Glass, Porcelain, etc. Isinglass (fish glue) . . SO parts Gum ammoniac 4 parts Gum mastic 2 parts Alcohol, 95 per cent . . 10 parts Water, q. s. Soak the isinglass in cold water over night, or until it has become swollen and soft throughout. In the morning throw off any superfluous fluid and throw the isinglass on a clean towel or other coarse cloth, and hang it up in such a way that any fi-ee residual water will drain away. Upon doing this thoroughly depends, in a great measure, the strength of the cement. When the gelatin has become thoroughly drained put it into a flask or other container, place it in the water batb ^^4 h^^\ carefully until it becomes fluid, being careful not to let it come to a boil, as this injures its adhesive prop- erties (the same may be said in regard to glues and gelatins of all kinds) . Dis- solve the gums in the alcohol and add the solution to the gelatin after remov- ing the same from the water bath, and letting it cool down to about 160° F. Stir well together or mix by agitation. The following precautions must be observed: 1. Both surfaces to be joined must be absolutely clean, free from dust, dirt, grease, etc. 2. Where the cement is one that requires the application of heat before use, the objects to be united should also be heated to a point at least as high as the melting point of the cement. Otherwise, the cement on application is chilled and consequently fails to make a lasting joint. 3. The thinner the layer of cement the stronger the joint; avoid, therefore, using too much of the binding material. Cover both surfaces to be united, coapt them exactly, and press together as closely as possible. In this manner the thinnest possible layer is secured. 4. Bind the p^rts securely to- gether, and let remain without loosening or attempting to use the article for 2 or 3 days or longer. A liquid cement ac- quires its full strength only after evapor- ation of the fluids used as solvents, and this can occur only from the infinitesimal line of exposed surface. V. — Liquid Porcelain Cement. — Fish glue, 20 parts; glass acetic acid, 20 parts; heat together until the mass gelatinizes on cooling. VI. — Take 1 ounce of Russian isin- glass, cut in small pieces, and bruise well; then add 6 ounces of warm water, and leave it in a warm place for from 24 to 48 f^rs. Evaporate the re- sulting solution to about 3 ounces. Next dissolve J ounce of mastic in 4 ounces of alcohol, and add the mastic solution to the isinglass in small quan- tities at a time, continuing the heat and stirring well. While still hot strain the liquid through muslin. Vll. — For optical glasses, Canada bal- sam is employed, the two pieces being firm- ly pressed together. After a while, espe- cially by humidity, punctures will form, and the glass is separated by a mist of varying reflexes, while in certain climates the heat will melt the balsam. For all other glass articles which require only simple treatment, such as knobs of covers, plates, etc., silicate of potash is excel- lent. VIII. — Glass Cement. — Dissolve in 150 parts of acetic acid of 96 per cent, 100 ADHESIVES 29 parts of gelatin by the use of heat, and add ammonium bichromate, 5 parts. This glue must be kept away from the light. IX. — White glue 10 parts Potassium bichromate 2 parts Water 100 parts The glue is dissolved in a portion of the water by the aid of heat, the bichro- mate in the remainder, and the liquids mixed, the mixing being done in a feebly lighted place, and the mixture is then kept in the dark. It is applied in feeble light, being reliquefied by gentle heat, and the glass, the fractured pieces being tightly clamped together, is then exposed to a strong light for some time. By this exposure thp cement becomes insoluble. This is waterproof cement for glass. X. — Diamond Glass Cement. — Dis- solve 100 parts of fish glue in 150 parts of 90 per cent alcohol and add, with con- stant stirring, 200 parts of powdered rosin. This cement must be preserved in absolutely tight bottles, as it solidifies very quickly. XI — To unite objects of crystal dis- solve 8 parts of caoutchouc and 100 parts of gum mastic in 600 parts of chloro- form. Set aside, hermetically closed, for 8 days; then apply with a brush, cold. XII.- — To make a transparent cement for glass, digest together for a week in the cold 1 ounce of India rubber, 67 ounces of chloroform, and 40 ounces of mastic. XIII. ^ — A mixture of traumaticin, a solution of caoutchouc in chloroform, and a concentrated solution of water glass make a capital cement for unit- ing articles of glass. Not only is the joint very strong, but it ia transparent. Neither changes of temperature nor moisture affect the cement. XIV. — A transparent cement for por- celain is preparea by dissolving 75 parts of india rubber, cut into small pieces, in a bottle containing 60 parts chloro- form; to this add 15 parts green mastic. Let the bottle stand in the cold until the ingredients have become thoroughly dis- solved. XV. — Some preparations resist tKe ac- tion of heat and moisture a short time, but generally yield very quickly. The following cement for glass has proven most resistant to liquids and heat: Silver litharge .... 1,000 parts White lead 50 parts Boiled linseed oil. . 3 parts Copal varnish .... 1 part Mix the lead and litharge thoroughly, and the oil and copal in the same man- ner, and preserve separately. When needed for use, mix in the proportions indicated (150 parts of the powder to 4 parts of the liquid) and knead well to- f ether. Apply to the edges of the glass, ind the broken parts together, and let stand for from 24 to 48 hours. XVI. — To reunite plaster articles dis- solve small pieces of celluloid in ether; in a, quarter of an hour decant, and use the pasty deposit which remains for smearing the edges of the articles. It dries rapidly and is insoluble in water. XVII.— To Mend Wedgwood Mortars. — It is easy enough to mend mortars so that they may be used for making emul- sions and other light work which does not tax their strength too much. But a mended mortar will hardly be able to stand the force required for powdering hard substances. A good cement for mending mortars is the following: a. — Glass flour elutriated. 10 parts Fluorspar, powdered and elutriated 20 parts Silicate of soda 60 parts Both glass and fluorspar must be in the finest possible condition, which is best done by shaking each in fine pow- der, with water allowing the coarser particles to deposit, and then to pour off the remainder, which holds the finest particles in suspension. The mixture must be made very rapidly by quick stirring, and when thoroughly mixed must be at once applied. This is said to yield an excellent cement. 6.— Freshly burnt plaster of Paris 5 parts Freshly burnt lime .... 1 part White of egg, sufficient. Reduce the first two ingredients to a very fine powder and mix them well; moisten the two surfaces to be united with a small quantity of white of egg to make them adhesive; then mix the powder very rapidly with the white of egg and apply the mixture to the broken surfaces. If they are large, two persons should do this, each applying the cement to one portion. The pieces are then firmly pressed to- f ether and left undisturbed for several ays. The less cement is used the better will the articles hold together. c. — If there is no objection to dark- colored cement, the very best that can be used is probably marine glue. This is made thus: Ten parts of caoutchouc or india rubber are dissolved in 120 parts of benzine or petroleum naphtha, with 30 ADHESIVES the aid of a gentle heat. When the so- lution is complete, which sometimes lequiresfrom 10 to 14 daj^s, 20 parts of asphalt are melted in an iron vessel and the caoutchouc solution is poured in very slowly in a fine stream and under con- tinued heating, until the mass has be- come homogeneous and nearly all the solvent has been driven off. It is then poured out and cast into greased tin molds. It forms dark brown or black cakes, which are very hard to break. This cement requires considerable heat to melt it; and to prevent it from being burnt it is best to heat a capsule contain- ing a piece of it first on a water bath until the cake softens and begins to be liquid. It is then carefully wiped dry and heated over a naked flame, under constant stir- ring, up to about 300° F. The'edges of the article to be mended should, if possi- ble, also be heated to at least 212° P., so as to permit the cement to be ap- plied at leisure and with care. The thinner the cement is applied the better it binds. Meerschaum Cements. — I. — If the ma- terial is genuine (natural) meerschaum a lasting joint can be made between the parts by proceeding as follows: Clean a clove or two of garlic (the fresher the better) by removing all the outside hull of skin; throw into a little mortar and mash to a paste. Rub this paste over' each surface to be united and loin quick- ly. Bring the parts as closely together as possible and fasten in this position. Have ready some boiling fresh milk; lace the article in it and continue the oiling for 30 minutes. Remove and let cool slowly. If properly done, this makes a joint that will stand any ordi- nary treatment, and is nearly invisible. For composition, use a cement made of quicklime, rubbed to a thick cream with egg albumen. II. — Mix very fine meerschaum shav- ings with albumen or dissolve casein in water glass, stir finely powdered magne- sia into the mass, and use the cement at once. This hardens quickly. Asbestos Cement. — Ground asbestos may be made into a cement which will stand a high degree of heat by simply mixing it with a solution of sodium sili- cate. By subsequent treatment with a solution of calcium chloride the mass may be made insoluble, silicate of cal- cium being formed. A cement said to stand a high degree of heat and to be suitable for cementing glass, porcelain, or other vessels intended to hold coirosive acids, is this one: t I.— Asbestos 2 parts Barium sulphate 3 parts Sodium silicate 2 parts By mixing these ingredients a cement strong enough to resist the strongest nitric acid will be obtained. If hot acids are dealt with, the following mixture will be found to possess still more resistant powers: II. — Sodium silicate 2 parts Fine sand 1 part Asbestos powder 1 part Both these cements take a few hours to set. If the cement is wanted to set at once, use potassium silicate instead of sodium silicate. This mixture will be instantly effective, and possesses the same power of resistance as the other. Parisian Cement. -^ Mix 1 part of finely ground glass powder, obtained by levigation, with 3 parts of finely pow- dered zinc oxide rendered perfectly free from carbonic acid by calcination. Be- sides prepare a solution of 1 part, by weight, of borax in a very small quantity of hot water and mix this with 50 parts of a highly concentrated zinc chloride solution of 1.5 to 1.6 specific gravity. As is well known the mixture of this powder with the liquid into a soft uni- form paste is accomplished only imme- diately before use. The induration to a stonelike mass takes place within a few minutes, the admixture of borax retarding the solidification somewhat.. The pure white color of the powder may be tinted with ocher, manganese, etc., according to the shade desired. Strong Cement. — Pour over well- washed and cleaned casein 12i parts of boiled linseed oil and the same amount of castor oil. Boil. Stir actively and add a small amount of a saturated aque- ous solution of alum; remove from the fire and set aside. After a while a milky looking fluid will separate and rise. This should be poured off. To the residue add 120 parts of rock candy syrup and 6 parts of dextrin. A Cheap and Excellent Cement. — A cheap and excellent cement, insoluble after drying in water, petroleum, oils, carbon disulphide, etc., very hard when dry and of very considerable tensile strength, is composed of casein and some tannic-acid compound, as, for in- stance, calcium tannate, and is prepared as follows: _ First, a tannin solution is prepared either by dissolving a tannin salt, or by extraction from vegetable sources (as barks from certain trees, etc.), to which ADHESIVES 31 is added clear lime water (obtained by filtering milk of lime, or by letting the milk stand until the lime subsides) until no further precipitation occurs, and red litmus paper munged in the fluid is turned blue. The liquid is now sepa- rated from its precipitate, either by de- eantation or otherwise, and the precipi- tate is dried. In operating with large quantities of the substance, this is done by passing a stream of atmospheric air through the same. The lime tan- nate obtained thus is then mixed with casein in proportions running from 1 : 1 up to 1 : 10, and the mixture, thoroughly dried, is milled into the consistency of the finest powder. This powder has now only to be mixed with water to be ready for use, the consistency of the prepara- tion depending upon the use to which it is to be put. Universal Cement. — Take gum arable, 100 parts, by weight; starch, 75 parts, by weight; white sugar, 21 parts, by weight; camphor, 4 parts, by weight. Dissolve the gum arable in a little water; also dissolve the starch in a little water. Mix and add the sugar and camphor. Boil on the water bath until a paste is formed which, on coating, will thicken. Cement for Ivory. — Melt together equal parts of gutta percha and ordinary Eitch. The pieces to be united have to e warmed. t^ement for Belts. — Mix 50 parts, by weight, of fish glue with equal parts of whey and acetic acid. Then add 50 parts, by weight, of garlic in paste form and boil the whole on the water bath. At the same time make a ' solution of 100 parts, by weight, of gelatin in the same quantity of whey, and mix both liquids. To the whole add, finally, 50 parts, by weight, of 90-per-cent alcohol and, after filtration, a cement is ob- tained which can be readily applied with a brush and possesses extraordinary binding qualities. Cement for Chemical Apparatus. — Melt together 20 parts of gutta percha, 10 parts of yellow wax, and 30 parts of shellac. Size Over Portland Cement. — The best size to use on Portland cement molding for wall paper would ordinarily be glue and alum size put on thin and warm, made in proportion of ^ pound of glue and same weight of alum dis- solved in separate pails, then poured to- gether. Aquarium Cements. — I. — Litharge 3 ounces Fine white sand ... 3 ounces Plaster of Paris .... 3 ounces Kosin, in fine pow- der 1 ounce Linseed oil, enough. Drier, enough. Mix the first three ingredients, add sufficient linseed oil to make a homogene- ous paste, and then add a small quantity of drier. This should stand a few hours before it is used. It is said that glass joined to iron with this cement will break before it will come loose. II. — Litharge 1 ounce Fine white sand 1 ounce Plaster of Paris .... 1 ounce Manganese borate. 20 grains Rosin, in fine pow- der 3J pounds Linseed varnish oil, enough. III. — Take equal parts of flowers of sulphur, ammonium chloride, and iron filings, and mix thoroughly with boiled linseed oil. Finally, add enough white lead to form a thin paste. IV. — Powdered graphite. 6 parts Slaked lime 3 parts Barium sulphate. . . 8 parts Linseed varnish oil. 7 parts V. — Simply mix equal parts of white and red lead with a little kettle-boiled linseed oil. Substitute for Cement on Grinder Disks. — A good substitute in place of glue or various kinds of cement for fast- ening emery cloth to the disks of grind- ers of the Gardner type is to heat or warm the disk and apply a thin coating of beeswax; then put the emery cloth in place and allow to set and cool under pressure. Knockenplombe. — If 1 part of thymol be mixed with 2 parts of iodoform we obtain a substance that retains its fluid- ity down to 72° C. (161.6° F.). If the temperature be carried down to 60° C. (140° F.) it suddenly becomes solid and hard. If, in its liquid condition, this substance be mixed iptimately with an equal quantity of calcined bone, it forms a cement that can be molded or kneaded into any shape, that, at the temperature of the body (98° F.), becomes as hard as stone, a fact that suggests many useful purposes to which the mixture may be put. Cement for General Use. — Take gum arabic, 100 paits, by weight; starch, 75 32 ADHESIVES parts by weight; white sugar, 21 parts, by weight; camphor, 4 parts, by weight. Dissolve the gum arable in a little water. On the other hand, dissolve the starch also in some water. When this is done add the sugar and the camphor and put in a water bath. Boil until a, paste is formed, which must be rather thin, be- cause it will thicken on cooling. Strong Cement. — Pour over well- washed and cleaned casein 12J parts of boiled linseed oil and the same amount of castor oil, put on the fire and bring to a boil; stir actively and add a small amount of a saturated aqueous solution of alum; remove from the fire and set aside. After standing a while a milky- looking fluid will separate at the bottom and rise to the top. This should be poured off and to the residue add 120 parts of rock-candy syrup and 6 parts of dextrine. Syndeticon. — I. — Slake 100 parts of burnt lime with 50 parts of water, pour oS the supernatant water; next, dissolve 60 parts of lump sugar in 160 parts of water, add to the solution 15 parts of the slaked lime, heat to 70° or 80° C. (158° to 176° F.), and set aside, shaking fre- quently. Finally dissolve 50 to 60 parts of genuine Cologne glue in 250 parts of the clear solution. II. — A solution of 10 parts gum ara- ble and 30 parts of sugar in 100 parts of soda water glass. III. — A hot solution of SO parts of Cologne glue in 60 parts of a 20-per-cent aqueous calcium-chloride solution. IV. — A solution of 50 parts of Co- logne glue in 60 parts of acetic acid. V. — Soak isinglass (fish bladder) in acetic acid of 70 per cent until it swells up, then rub it up, adding a little water dur- ing the process. "Shio Liao." — Under this name the Chinese manufacture an excellent ce- ment which takes the place of glue, and with which p'ypsum, marble, porcelain, stone, and stoneware can be cemented. It consists of the following parts (by weight): Slaked powdered lime, 64 parts; powdered alum, 6 parts; and fresh, well - strained blood, 40 parts. These materials are stirred thoroughly until an intimately bound mass of the consistency of a more or less stiff salve is obtained. In paste form this mass is used as cement; in a liquid state it is employed for painting all sorts of arti- cles which are to be rendered waterproof and durable. Cardboard covers, which are coated with it two or three times, be- come as hard as wood. The Chinese paint their houses with "shio liao" and glaze their Barrels with it, in which they trans- port oil and other greasy substances. LUTES. Lutes always consist of a menstruum and dissolved or suspended solids, and they must not be attacked by the gases and liquids coming in contact with them. In some cases the constituents of the lute react to form a more strongly adhering mass. The conditions of application are, in brief : (a) Heating the composition to make it plastic until firmly fixed in place. (6) Heating the surfaces. (c) Applying the lute with water or a volatile solvent, which is allowed to Vola- tilize. {d) Moistening the surfaces with wa- ter, oil, etc. (the menstruum of the lute itself). (e) Applying the lute in workable con- dition and the setting taking place by chemical reactions. (/) Setting by hydration. ig) Setting by oxidation. These principles will be found to cover nearly all cases. Joints should not be ill - fitting, de- pending upon the lute to do what the pipes or other parts of the apparatus should do. In most cases one part of the fitting should overlap the other, so as to make a small amount of the lute effective and to keep the parts of the ap- paratus rigid, as a luted joint is not supposed to be a particularly strong one, but rather one quickly applied, effective while in plaice and easily removed. Very moderate amounts of the lute should be used, , as large amounts are likely to develop' cracks, be rubbed off, etc. A classification may be given as fol- lows: (1) Plaster of Paris. (2) Hydraulic cement. (3) Clay. (4) Lime. (5) Asphalt and pitch. (6) Rosin. (7) Rubber. (8) Linseed oil. (9) Casein and albumen. (10) Silicates of soda and oxychlo- ride cements. (11) Flour and starch. (12) Miscellaneous, including core compounds. 1. Plaster of Paris is, of course, often used alone as a paste, which quickly ADHESIVES soUaines, for gas and wood distillation retorts, etc., and similar places where quickness of setting is requisite. It is more often, however, used with some fibrous material to give it greater strengtli. Asbestos is the most commonly used material of these, as it will stand a high temperature. When that is not so im- portant, straw, plush trimmings, hair, etc., are used as binders, while broken stone, glass, and various mineral sub- stances are used as fillers, but they do not add anything to the strengtht These lutes seem to be particularly suit- able for oil vapors and hydrocarbon gases. Formulas : (1) Plaster and water. (2) Plaster (wet) and asbestos. (3) Plaster (wet) and straw. (4) Plaster (wet) and plush trim- mings. (5) Plaster (wet) and hair. (6) Plaster (wet) and broken stone, etc. II. Hydraulic Cement. — Cement is used either alone or with sand, asbestos, etc. These lutes are suitable for nitric acid. When used with substances such as rosin or sulphur, cement is probably employed because it is in sucn a fine state of division and used as a filler and not because of any powers of setting by hydration. Formulas: (1) Cement — neat. (2) Cement and asbestos. (3) Cement and sand. III. Clay. — This most frequently en- ters into the composition of lutes as a filler, but even then the very finely divid- ed condition of certain grades renders it valuable, as it gives body to a liquid, such as linseed on, which, unless stiff- ened, would be pervious to a gas, the clay in all cases being neutral. Thus, for luting pipes carrying chlorine, a stiff paste of clay and molasses has been sug- gested by Theo. KoUer in Die Surrogate, but it soon gives way. Formulas: (1) Clay and linseed oil. (2) Same, using fire clay. (3) Clay and molasses. (1) Is suitable for steam, etc.; (2) for chlorine, and (3) for oil vapors. IV. Lime is used in the old lute known as putty, which consists of caustic lime and linseed oil. Frequently the lime is replaced by chalk and china clay, but the lime should be, in part at least, caus- tic, so as to form a certain amount of lime soap. Lime is also used in silicate and casein compositions, which are very strong and useful, but will be described elsewhere. Formulas : (1) Lime and boiled oil to stiff mass. (2) Clay, etc., boiled oil to stiff mass. V. Asphalt and Pitch. — These sub- stances are used in lutes somewhat inter- changeably. As a rule, pitch makes the stronger lutes. Tar is sometimes used, but, because of the light oils and, fre- quently, water contained, it is not so good as either of the others. Asphalt dissolved in benzol is very useful for uniting glass for photographic, microscopical, and other uses. Also for coating wood, concrete, etc., where the melted asphalt would be too thick to cover well. Benzol is the cheapest solvent that is satisfactory for this pur- pose, as the only one that is cheaper would be a petroleum naphtha, which does not dissolve all the constituents of the asphalt. For waterproofing wood, brick, concrete, etc., melted asphalt alone is much used, but when a little parafiine is added, it improves its water- proofing cjualities, and in particular cases boiled oil is also added to advantage. Formulas : 1. Refined lake asphalt. 2. Asphalt 4 parts Paraffine 1 part 3. Asphalt 10 parts Paraffine 2 parts Boiled oil 1 part Any of these may be thinned with hot benzol or toluol. Toluol is less volatile than benzol and about as cheap, if not cheaper, the straw-colored grades being about 24 cents per gallon. Examples of so-called "stone cement" are: 4. Pitch 8 parts Rosin 6 parts Wax 1 part Plaster i to | part 5. Pitch 8 parts Rosin 7 parts Sulphur , 2 parts Stone powder 1 part These compositions are used to unite slate slabs and stoneware for domestic, engineering, and chemical purposes. Va- rious rosin and pitch mixtures are used for these purposes, and the proportions of these two ingredients are determined by the consistency desired. Sulphur and stone powder are added to prevent the formation of cracks, sulphur acting chem- ically and stone powder mechaijically ADHESIVES Where the lute would come in contact with acid or vapors of the same, lime- stone should not be the powder used, otherwise it is about the best. Wax is a useful ingredient to keep the composi- tion from getting brittle with age. A class of lutes under this general grouping that are much used are so- called marine glues" (q. v.). They must be tough and elastic. When used for calking on a vessel they must expand and contract with the temperature and not crack or come loose. Formulas: 6. Pitch 3 parts Shellac 2 parts Pure crude rubber ... 1 part 7. Pitch 1 part Shellac 1 part Rubber substitute .... 1 part These are used by melting over a burner. VI. Rosin, Shellac, and Wax. — A strong cement, used as a stone cement, is: 1. Rosin 8 parts Wax 1 part Turpentine 1 part It has little or no body, and is used in thin layers. For nitric and hydrochloric acid vapors: 2. Rosin 1 part Sulphur 1 part Fire clay 2 parts Sulphur gives great hardness and permanency to rosin lutes, but this com- position is somewhat brittle. Good waterproof lutes of this class are: 3. Rosin 1 part Wax 1 part Powdered stone 2 parts 4. Shellac 5 parts Wax 1 part Turpentine 1 part Chalk, etc 8 to 10 parts For a soft air-tight paste for ground- glass surfaces: 5. Wax 1 part Vaseline 1 part 6. A strong cement, without body, for metals (other than copper or alloys of same), porcelain, and glass is made by letting i part of finely powdered shellac stand witn 10 parts of ammonia water until solution is effected. VII. Rubber. — Because of its toughness, elasticity, and resistance to alterative influences, rubber is a very useful con- stituent in lutes, but its price makes its use very limited. Leather Cement. 1. Asphalt 1 part Rosin 1 part Gutta percha 4 parts Carbon disulphide. . . 20 parts To stand acid va,pors: 2. Rubber 1 part Linseed oil 3 parts Fire clay 3 parts 3. Plain Rubber Cement. — Cut the crude rubber in small pieces and then add the solvent. Carbon disulphide is the best, benzol good and much cheaper, but gasoline is probably most extensively used because of its cheapness. 4. To make corks and wood im- pervious to steam and water, soak them in a rubber solution as above; if it is desired to protect them from oil vapors, use glue composition. (See Section IX.) VIII. Linseed Oil.— This is one of the most generally useful substances we have for luting purposes, if absorbed by a por- ous substance that is inert. Formulas: 1. China clay of general utility for aq^ueous vapors. Linseed oil of general utility for aque- ous vapors. 2. Lime forming the well - known putty. Linseed oil forming the well-known putty. 3. Red or white lead and linseed oil. These mixtures become very strong when set and are best diluted with_pow- dered glass, clay, or graphite. There are almost an endless number of lutes using metallic oxides and linseed oil. A very good one, not getting as hard as those containing lead, is: 4. Oxide of iron and linseed oil. IX. Casein, Albumen, and Glue. — These, if properly made, become very tough and tenacious; they stand moder- ate heat and oil vapors, but not acid vapors. 1. Finely powdered case- „,in 12 parts Slaked lime (fresh). . . 50 parts Fine sand 50 parts Water to thick mush. A very strong cement which stands moderate heat is the following : 2. Casein in very fine powder 1 part Rubbed up with sili- cate of soda 3 parts A strong lute for general purposes, ADHESIVES 85 which must be used promptly when made: S. White ot egg made into a paste with slaked lime. A composition for soaking corks, Wood, packing, etc., to render them im- pervious to oil vapors, is: Gelatine or good glue 2 parts Glycerine J to 1 part Water 6 parts Oil of wintergreen; etc., to keep from spoiling. X. Silicate of Oxychloride Cements. — For oil vapors, standing the highest heat: 1. A stiff paste of silicate of soda and asbestos. Gaskets for superheated steam, re- torts, furnaces, etc.: 2. Silicate of soda and powdered glass; dry the mixture and heat. Not so strong, however, as the follow- ing: 3. Silicate of soda 50 parts Asbestos 15 parts Slaked lime 10 parts Metal Cement: 4. Silicate of soda 1 part Oxides of metal, such as zinc oxide; lith- arge, iron oxide, singly or mixed 1 part Very hard and extra strong composi- tions : 5. Zinc oxide 2 parts Zinc chloride 1 part Water to make a paste. 6. Magnesium oxide ... 2 parts Magnesium chloride. 1 part Water to make a paste. XI. Flour and Starch Compositions. — 1. The well-known flaxseed poultice sets very tough, but does not stand water or condensed steam. 2. Flour and molasses, made by mak- ing a stiff composition of the two. This is an excellent lute to have at hand at all times for emergency use, etc. 3. Stiff paste of flour and strong zinc- chloride solution forms a more imper- vious lute, and is more permanent as a cement. This is good for most pur- poses, at ordinary temperature, where it would not be in contact with nitric-acid vapors or condensing steam. 4. A mixture of dextrine and fine sand makes a, good composition, mainly used as core compound. XII. Miscellaneous.— 1. Litharge. Glycerine. 3 Mixed to form a stiff paste, sets and becomes very hard and strong, and is very useful for inserting glass tubes, etc., in iron or brass. For a high heat: 2. Alumina 1 part Sand 4 parts Slaked lime 1 part Borax... J part Water sufficient. A class of mixtures that can be classi- fied only according to their intended use are core compounds. I. — Dextrine, about 1 part Sand, about 10 parts With enough water to form a paste. II. — Powdered anthracite coal, with molasses to form a stiff paste. III. — Rosin, partly saponi- fied by soda lye .... 1 part Flour 2 parts Sand (with sufficient water) 4 parts (These proportions are approximate and the amount of sand can be increased for some purposes.) IV. — Glue, powdered 1 part Flour 4 parts Sand (with sufficient water) 6 parts For some purposes the following mix- ture is used. It does not seem to be a gasket or a core compound: V. — Oats (or wheat) ground 25 parts Glue, powdered 6 parts Sal ammoniac 1 part Paper read by Samuel S. Sadtter before the Franklin Institute. PASTES : Dextrine Pastes. — I. — Borax, powdered.. . . 60 parts Dextrine, light yellow. 480 parts Glucose 50 parts Water 420 parts By the aid of heat, dissolve the borax in the water and add the dextrine and glucose. Continue the heat, but do not let the mixture boil, and stir constantly until a homogeneous solution is obtainecf, from time to time renewing the water lost by evaporation with hot water. Finally, bring up to full weight (1,000 parts) by the addition of hot water, then strain through flannel. Prepared in this manner the paste remains bright and clear for a long time. It has extraor- dinary adhesive properties and dries very rapidly. If care is not taken to keep the cooking temperature below the boiling Eoint pf water, the paste is apt to become rown and to be very brittle on drying. 36 ADHESIVES II. — Dissolve in hot water a sufficient quantity of dextrine to bring it to the consistency of honey. This forms a strong adhesive paste that will keep a long time unchanged, if the water is not allowed to evaporate. Sheets of paper may be prepared for extempore labels by coating one side with the paste and allowing it to dry; by slightly wetting the gummed side, the label will adhere to glass. This paste is very useful in the office or laboratory. III. — Pour over 1,000 parts of dextrine 450 parts of soft water and stir the mix- ture for 10 minutes. After the dextrine has absorbed the water, put the mixture over the fire, or, preferably, on a water bath, and heat, with lively stirring for 5 minutes, or until it forms a light milk- like liquid, on the surface of which lit- tle bubbles begin to form and the liquid is apparently beginning to boil. Do not allow it to come to a boil. Re- move from the fire and set in a bucket of cold water to cool off. When cold add to every 1,000 parts of the solution 51 parts glycerine and as much salicylic acid as will stand on the tip of a knife blade. If the solution is too thick, thin it with water that has been boiled and cooled off again. Do not add any more glycerine or the solution will never set. IV. — Soften 175 parts of thick dex- trine with cold water and 250 parts of boiling water added. Boil for 5 minutes and then add 30 parts of dilute acetic acid, 30 parts glycerine, and a drop or two of clove oil. V. — Powder coarsely 400 parts dex- trine and dissolve in 600 parts of water. Add 20 parts glycerine and 10 parts glu- cose and heat to 90° C. (195° F.). VI. — Stir 400 parts of dextrine with water and thin the mass with 200 parts more water, 20 parts glucose, and 10 parts aluminum sulphate. Heat the whole to 90° C. (195° F.) in the water bath until the whole mass becomes clear and liquid. VII. — Warm 2 parts of dextrine, 6 parts of water, 1 part of acetic acid, 1 part of alcohol together, with occasional stirring until a complete solution is at- tained. VIII. — Dissolve by the aid of heat 100 parts of builders' glue in 200 parts of water add 2 parts of bleached shellac dissolved previously in 50 parts of alcohol. Dissolve by the aid of heat 50 parts of dex- trine in 50 parts of water, and mix the two solutions by stirring the second slowly into the first. Strain the mixture through a cloth into a shallow dish and let it harc|en. When needed cut off a piece of sufficient size and warm until it becomes lic(uid and if necessary or advisable thin with water. IX.— Stir up 10 parts of dextrine with sufficient water to make a thick broth. Then, over a light fire, heat and add 25 parts of sodium water glass. X. — Dissolve 5 parts of dextrine in water and add 1 part of alum. Fastening Cork to Metal. — In fasten- ing cork to iron and brass, even when these are lacquered, a good sealing wax containing shellac will be found to serve the purpose nicely. Wax prepared with rosin is not suitable. The cork surface is painted with the melted sealing wax. The surface of the metal is heated with a, spirit flame entirely free from soot, until the sealing wax melts when pressed upon the metallic surface. The wax is held in the flame until it burns, and it is then applied to the hot surface of the metal. The cork surface painted with sealing wax is now held in the flame, and as soon as the wax begins to melt the cork is pressed firmly on the metallic sur- face bearing the wax. To Paste Celluloid on Wood, Tin, or Leather. — To attach celluloid to wood, tin, or leather, a mixture of 1 part of shellac, 1 part of spirit of camphor, 3 to 4 parts of alcohol and spirit of camphor (90°) is well adapted, in which 1 part of cam- phor is dissolved without heating in 7 parts of spirit of wine of 0.832 specific gravity, adding 2 parts of water. ' To Paste Paper Signs on Metal or Cloth. — A piece of gutta percha of the same size as the label is laid under the latter and the whole is heated. If the heating cannot be accomplished by means of a spirit lamp the label should be ironed down under a protective cloth or paper in the same manner as woolen goods are pressed. This method is also very use- ful for attaching paper labels to minerals. Paste for Fastening Leather, Oilcloth, or Similar Stuff to Table or Desk Tops, etc.— Use the same paste for leather as for oilcloth or other goods, but moisten the leather before applying the paste. Prepare the paste as follows: Mix 2i pounds of good wheat flour with 2 tablespoonfuls of pulverized gum ara- ble or powdered rosin and 2 table- spoonfuls of pulverized alum in a clean dish with water enough to make a uni- formly thick batter; set it over a, slow fire and stir continuously until the paste is uniform and free from lumps. When the mass has become so stout that the wooden spoon or stick will stand in it ADHESIVES 37 upright, it is taken from the fire and placed in another dish and covered so that no skin will form on top. When cold, the table or desk top, etc., is covered with a thin coat of the paste, the cloth, etc., carefully laid on and smoothed from the center toward the edges with a rolling pin. The trimming of edges is accomplished when the paste has dried. To smooth out the leather after pasting, a woolen cloth is of the best service. To Paste Paper on Smooth Iron. — Over a water bath dissolve 200 parts, by weight, of gelatine in 150 parts, by weight, of water; while stirring add 50 parts, by weight, of acetic acid, 50 parts alco- hol, and 50 parts, by weight, of pulver- ized alum. The spot upon which it is desired to attach the paper must first be rubbed with a bit of fine emery paper. Paste for Affixing Cloth to Metal. — Starch 20 parts Sugar 10 parts Zinc chloride 1 part Water 100 parts Mix the ingredients and stir until a perfectly smooth liquid results entirely free from lumps, then warm gradually until the liquid thickens. To Fix Paper upon Polished Metal. — Dissolve 400 parts, by weight, of dextrine in 600 parts, by weight, of water; add to this 10 parts, by weight, of glucose, and heat almost to boiling. Albumen Paste. — Fresh egg albumen is recommended as a paste for affixing labels on bottles. It is said that labels put on with this substance, and well dried at the time, will not loosen even when bottles are put into water and left there for some time. Albumen, dry, is almost proof against mold or ferments. As to cost, it is but little if any higher than gam arabic, the white of one egg being sufficient to attach at least 100 medium-sized labels. Paste for Parchment Paj)er. — The best agent is made by dissolving casein in a saturated aqueous solution of borax. Medical Paste. — As an adhesive agent for medicinal purposes Professor Reihl, of Leipsic, recommends the viscous sub- stance contained in the white mistletoe. It is largely present in the berries and the bark of the plant; it is called viscin, and can be produced at one-tenth the price of caoutchouc. Solutions in ben- zine may be used like those of caout- chouc without causing any irritation if applied mixed with medicinal remedies to the skin. Paste That Will Not Mold.— Mix good white flour with cold water into a thick paste. Be sure to stir out all the lumps; then add boiling water, stirring all the time until thoroughly cooked. To 6 quarts of this add J pound light brown sugar and J ounce corrosive sublimate, dissolved in a little hot water. When the paste is cool add 1 drachm oil of lavender. This paste will keep for a long time. Pasting Wood and Cardboard on Metal. — In a little water dissolve 50 parts of lead acetate and 5 parts of alum. In another receptacle dissolve 75 parts of gum arabic in 2,000 parts of water. Into this gum-arabic solution pour 500 Earts of flour, stirring constantly, and eat gradually to the boiling point. Mingle the solution first prepared with the second solution. It should be kept in mind that, owing to the lead acetate, this preparation is poisonous. Agar Agar Paste. — The agar agar is broken up small, wetted with water, and exposed in an earthenware vessel to the ac- tion of ozone pumped under pressure into the vessel from the ozonizing apparatus. About an hour of this bleaches the agar agar and makes it freely soluble in boil- ing water, when solutions far more con- centrated than has hitherto been possible can be prepared. On cooling, the solu- tions assume a, milky appearance, but form no lumps and are readily relique- fied by heating. If the solution is com- pletely evaporated, as of course happens when the adhesive is allowed to dry after use, it leaves a firmly holding mass which is insoluble in cold water. Among the uses to which the preparation can be applied are the dressing of textile fabrics and paper sizing, and the production of photographic papers, as well as the or- dinary uses of an adhesive. Strongly Adhesive Paste. — Four parts glue are soaked a few hours in 15 parts cold water, and moderately heated till the solution becomes perfectly clear, when 65 parts boiling water are added, while stirring. In another vessel 30 parts boiled starch are previously stirred together with 20 parts cold water, so that a thin, milky liquid without lumps results. The boiling glue solution is poured into this while stirring constantly, and the whole is kept boiling another 10 minutes. Paste for Tissue Paper.— (a) Pulverized gum ara- bic 2 ounces White sugar 4 drachms Boiling water 3 fluidounces ADHESIVES (6) Common laundry starch 1 J ounces Cold water 3 fluidounces Make into a batter and pour into Boiling water 32 fluidounces Mix (a) with (6j, and keep in a wide- mouthed bottle. Waterproof and Acidproof Pastes. — I. — Chromic acid 2 J parts Stronger ammonia. . . IS parts Sulphuric acid J part Cuprammonium so- lution 30 parts Fine white paper .... 4 parts II. — Isinglass, a, sufficient quantity Acetic acid 1 part Water 7 parts Dissolve sufficient isinglass in the mix- ture of acetic acid and water to make a thin mucilage. One of the solutions is applied to the surface of one sheet of paper and the other to the other sheet, and they are then pressed together. III. — A fair knotting varnish free from surplus oil is by far the best adhe- sive for fixing labels, especially on metal surfaces. It dries instantly, insuring a speedy job and immediate packing, if needful, without fear of derangement. It has great tenacity, and is not only absolutely damp-proof itself, but is actu- ally repellent of moisture, to which all water pastes are subject. It costs more, but the additional expense is often infini- tesimal compared with the pleasure of a satisfactory result. Balkan Paste. — Pale glue 4> ounces White loaf sugar. .. . 2 ounces Powdered starch. .. . 1 ounce White dextrine i pound Pure glycerine 3 ounces Carbolic acid J ounce Boiling water 32 ounces Cut up the glue and steep it in i pint boiling water; when softened melt in a saucepan; add sugar, starch, and dex- trine, and lastly the glycerine, in which carbolic acid has been mixed; add re- mainder of water, and boil until it thick- ens. Pour into jars or bottles. Permanent Paste. — I.— Wheat flour 1 pound Water, cold 1 quart Nitric acid 4 fluidrachms Boric acid 40 grains Oil of cloves 20 minims Mix the flour, boric acid, and water, then strain the mixture; add tbe nitric acid, apply heat with constant stirring until the mixture thickens; when nearly cold add the oil of cloves. This paste will have a pleasant smell, will not attract flies, and can be thinned by the addition of cold water as needed. II. — Dissolve 4 ounces alum in 4 quarts hot water. When cool add as much flour as will make it of the usual consistency; then stir into it i ounce powdered rosin; next add a little water in which a, dozen cloves have been steeped; then boil it until thick as mush, stirring from the bottom all the time. Thin with warm water for use. Preservatives for Paste. — Various an- tiseptics are employed for the preserva- tion of flour paste, mucilage, etc. Boric and salicylic acids, oil of cloves, oil of sassafras, and solution of formaldehyde are among those which have given best service. A durable starch paste is pro- duced by adding some borax to the water used in making it. A paste from 10 parts (weight) starch to 100 parts (weight) water with 1 per cent borax added will keep many weeks, while vrith- out this addition it will sour after six days. In the case of a gluing material prepared from starch paste and joiners' glue, borax has also demonstrated its pre- serving qualities. The solution is made by mixing 10 parts (weight) starch into a paste with water and adding 10 parts (weight) glue soaked in water to the hot solution; the addition of -^^ part (weight) of borax to the solution will cause it to keep for weeks. It is equal to the best glue, but should be warmed and stirred before use. Board-Sizing. — A cheap sizing for rough, weather-beaten boards may be made by dissolving shellac in sal soda and adding some heavy-bodied pigment. This size will stick to grease spots. Lin- seed oil may be added if desired. Lime- water and linseed oil make a good heavy sizing, but hard to spread. They are usually used half and half, though Ihese proportions may be varied somewhat^ Rice Paste.— Mix the rice flour with cold water, and boil it over a gentle fire until it thickens. This paste is quite white and becomes transparent on dry- ing. It is very adherent and of great use for many purposes. Casein Paste. — A solution of tannin, prepared from a bark or from commer- cial tannin, is precipitated with lime- water, the lime being added until the solution just turns red litmus paper blue. The supernatant liquid is then decanted. ADHESIVES ^d and the precipitate Is dried without arti- ficial heat. The resulting calcium tan- nate is then mixed, according to the pur- pose for which the adhesive is intended, with from 1 to 10 times its weight of dry casein by grinding in a mill. The ad- hesive compound is soluble in water, petroleum, oils, and carbon bisulphide. It is very strong, and is applied in the form of a paste with Water. PASTES FOR PAPERHANGERS. 1. — Use a cheap grade of rye or wheat flour, mix thoroughly with cold water to about the consistency of dough, or a little thinner, being careful to remove all lumps; stir in a tablespoonful of pow- dered alum to a quart of flour, then pour in boiling water, stirring rapidly until the flour is thoroughly cooked.- Let this cool before using, and thin with cold water. II. — Venetian Paste. — (a) 4 ounces white or fish glue 8 fluidounces cold water (6) 2 fluidounces Venice turpentine (c) 1 pound rye flour 16 fluidounces (1 pint) cOld water (d) 64 fluidounces (| gallon) boiling water Soak the 4 ounces ot glue in the cold water for 4 hours; dissolve on a water bath (glue pot), and while hot stir in the Venice turpentine. Make up (c) into a batter free from lumps and pour into (d) . Stir briskly, and finally add the glue so- lution. This makes a very strong paste, and it will adhere to a painted surface, owing to the Venice turpentine in its composition. III. — Strong Adhesive Paste.— (a) 4 pounds rye flour J gallon cold water 0) l| gallons boiling water (c) 2 ounces pulverized rosin Make (a) into a batter free from lumps; then pour into (J) . Boil if necessary, and while hot stir in the pulverized rosin a little at a time. This paste is exceed- ingly strong, and will stick heavy wall paper or thin leather. If the paste be too thick, thin with a little hot water; never thin paste with cold water. IV.— Flout Paste.— - (a) 2 pounds wheat flouf 32 fluidounces (1 quart) cold watef (6) 1 ounce alum 4 fluidounces hot water (c) 96 fluidounces (J gallon) boiling water Work the wheat flour into a batter free from lumps with the cold watef. Dis- solve the alum as designated in (b). Now stir in (a) and (c) and, if necessary, continue boiling Until the paste thickens into a semitransparent mucilage, after which stir in solution (6). The above makes a very fine paste for wall paper. V. — Elastic or Pliable Paste. — (a) 4 ounces common starch 2 ounces white dextrine 10 fluidounces cold water (6) 1 ounce borax 3 fluidounces glycerine 64 fluidounces (J gallon) boiling water Beat to a batter the ingredients of (a). Dissolve the borax in the boiling water; then add the glycerine, after which pour (a) into solution (6) . Stir until it becomes translucent. This paste will not crack, and, being very pliable, is used for paper, cloth, leather, and other material where flexibility is rec(uired. VI. — A paste with which wall paper Can be attached to wood or masohry, adhering to it firmly in spite of damp- ness, is prepared, as usual, of rye flour, to which, however, are added, after the boil- ing, 8J parts, by weight, of good linseed- oil varnish and 8J parts, by weight, of turpentine to every 500 parts, by weight. VII.— Paste for Wall Paper.— Soak 18 Eounds of bolus (bole) in water, after it as been beaten into small fragments, and pour ofl' the supernatant water. Boil 10 ounces of glue into glue water, mix it well with the softened bolus and 2 pounds plaster of Paris and strain through a sieve by means of a brush. Thin the mass with water to the consist- ency of a thin paste. The paste is now ready for use. It is not only much cheaper than other varieties, but has the advantage over them of adhering better to whitewashed walls, and especially such as have been repeatedly coated over the old coatings which were not thor- oughly removed. For hanging fine wall papet this paste is less commendable, as it forms a white color,. With which the paper might easily become soiled if great care is not exercised in applying it. If the fine wall paper is mounted on ground paper, however, it can be recom- mended for pasting the ground paper on the wall. LABEL PASTES: Pastes to Affix Labels to Tin.— Labels separate from tin because the paste be-" Comes too dry. Some moisture is pr6^ sumably always present; but more is required to cause continued adhesion in the case of tin than where the container is of 40 ADHESIVES glass. Paste may be kept moist by the addition of calcium chloride, which is strongly hygroscopic, or of glycerine. The following formulas for pastes of the type indicated were proposed by Leo Eliel: I. — Tragacanth 1 ounce Acacia 4 ounces Thymol 14 grains Glycerine ". . 4 ounces Water, suflScient to make 2 pints Dissolve the gums in 1 pint of water, strain, and add the glycerine, in which the thymol is suspended; shake well and add sufficient water to make 3 pints. This separates on standing, but a single shake mixes it sufficiently for use. II. — ^Rye flour 8 ounces Powdered acacia .... 1 ounce Glycerine 2 ounces Oil of cloves 40 drops Rub the rye flour and acacia to a smooth paste with 8 ounces of cold water; strain through cheese cloth, and pour into 1 pint of bdiling water, and continue the heat until as thick as desired. When nearly cold add the glycerine and oil of cloves. III. — Rye flour S parts Venice turpentine. . . 1 part Liquid glue, a sufficient quantity Rub up the flour with the turpentine and then add sufficient freshly prepared glue (glue or gelatine dissolved in water) to make a stiff paste. This paste dries slowly. IV. — Dextrine 2 parts Acetic acid 1 part Water 5 parts Alcohol, 95 per cent . 1 part Dissolve the dextrine and acetic acid in water by heating together in the water bath, and to the solution add the alcohol. V. — Dextrine 3 pounds Borax 2 ounces Glucose 5 drachms Water 3 pints 2 ounces Dissolve the borax in the water by warming, then add the dextrine and glu- cose, and continue to heat gently until dissolved. Another variety is made by dissolving a cheap Ghatti gum in limewater, but it keeps Dadly. VI. — Add tartaric acid to thick flour paste. The paste is to be boiled until quite thick, and the acid, previously dis- solved in a little water, is added, the pro- portion being about 2 ounces to the pint of paste. VII.— Gum arable, 50 parts; glycer- ine, 10 parts; water, 30 parts; liq. Stibu chlorat., 2 parts. VIIL— Boil rye flour and strong glue water into a mass to which are added, for 1,000 parts, good linseed-oil varnish 30 parts and oil of turpentine 30 parts. This mixture furnishes a gluing agent which, it is claimed, even renders the labels proof against being loosened by moisture. IX. — Pour 140 parts of distilled cold water over 100 parts of gum arable in a wide-necked bottle and dissolve by fre- quent shaking. To the solution, which is ready after standing for about 3 days, add 10 parts of glycerine; later, 20 parts of diluted acetic acid, and finally 6 parts of aluminum sulphate, then straining it through a fine-hair sieve. X. — Good glue is said to be obtained by dissolving 1 part of powdered sugar in 4 parts of soda water glass. XL — A glue for bottle labels is pre- pared by dissolving borax in water; soak glue in this solution and dissolve the glue by boiling. Carefully drop as much acetic acid into the solution as will allow it to remain thin on cooling. Labels affixed with this agent adhere firmly and do not become moldy in damp cellars. XII. — Dissolve some isinglass in acetic acid and brush the labels over with it. There will be no cause to complain of their coming off, nor of striking through the paper. Take a wide- mouthed bottle, fill about two-thirds with commercial acetic acid, and put in as much isinglass as the liquid will hold, and set aside in a warm place until completely dissolved. When cold it should form a jelly. To use it place the bottle in hot water. The cork should be well-fit- ting and smeared with vaseline or melted paraffine. How to Paste Labels on Tin. — Brush over the entire back of the label with a flour paste, fold the label loosely by sticking both ends together without creasing the center, and throw to one side until this process has been gone through with the whole lot. Then unfold each label and place it on the can in the regular manner. The paste ought not to be thicker than maple syrup. When of this consistency it soaks through the label and makes it pliable and in a con- dition to be easily rubbed into position. If the paste is too thick it dries quickly, and does not soak through the label suf- ficiently. After the labels have been placed upon the cans the latter must be ADHESIVES 41 kept apart until dry. In putting the paste upon the labels in the first place, follow the method of placing the dry labels over one another, back sides up, with the edge of each just protruding over the edge of the one beneath it, so that the fingers may easily grasp the label after the pasting has been done. Druggists' Label Paste.: — This paste, when carefully made, is an admirable one for label use, and a very little will go a long way: Wheat flour 4 ounces Nitric acid 1 drachm Boric acid 10 grains Oil of cloves 5 drops Carbolic acid J drachm Stir flour and water together, mixing thoroughly, and add the other ingre- dients. After the stuff is well mixed, heat it, watching very carefully and re- moving the instant it stiffens. To Attach Glass Labels to Bottles. — Melt together 1 part of rosin and 2 parts of yellow wax, and use while warm. Photographic Mountants (see also Photography). — Owing to the nature of the different papers used for printing photographs, it is a, matter of extreme importance to use a mountant that shall not set up decomposition in the coating of the print. For example, a mountant that exhibits acidity or alkalinity is in- jurious with most varieties of paper; and in photography the following formulas for pastes, mucilages, etc., have there- fore been selected with regard to their absolute immunity from setting up de- composition in the print or changing its tone in any way. One of the usual mountants is rice starch or else rice water. The latter is boiled to a thick jelly, strained, and the strained mass used as an agglutinant for attaching photo- graphic prints to the mounts. There is nothing of an injurious nature whatever in this mountant, neither is there in a mucilage made with gum dragon. This gum (also called gum traga- canth) is usually in the form of curls (i.e., leaf gum), which take a long time to properly dissolve in water — several weeKs, in fact — but during the past few years there has been put on the market a powdered gum dragon which does not occupy so many days in dissolving. To make a mucilage rom gum dragon a very large volume of water is required. For example, 1 ounce of the gum, either leaf or powder, will swell up and con- vert 1 gallon of water into a thickish mucilage in the course of 2 or 3 weeks. Only cold water must be used, and be- fore using the mucilage, all whitish lumps (which are particles of undissolved gum) should be picked out or else the mucilage strained. The time of solution can be considerably shortened (to a few hours) by acidifying the water in which the gum is placed with a little sulphuric or oxalic acid; but as the resultant muci- lage would contain traces of their pres- ence, such acids are not permissible when the gum-dragon mucilage is to be used for mounting photographs. Glycerine and gum arable make a very good adhesive of a fluid nature suited to mounting photographs; and although glycerine is hygroscopic by itself, such tendency to absorb moisture is checked by the reverse nature of the gum arable; consequently an ideal fluid mucilage is produced. The proportions of the sev- eral ingredients are these: Gum arable, genuine (gum acacia, not Bassora gunp) 4 ounces Boiling water 12 ounces Glycerine, pure 1 ounce First dissolve the gum in the water, and then stir in the glycerine, and allow all debris from the gum to deposit before using. The following adhesive com- pound is also one that is free from chem- ical reactions, and is suited for photo- graphic purposes: Water 2 pints Gum dragon, pow- dered 1 ounce Gum arable, genuine 4 ounces Glycerine 4 ounces Mix the gum arabic with half the wa ter, and in the remainder of the water dissolve the gum dragon. When both solids are dissolved, mix them together, and then stir in the glycerine. The following paste will be found a useful mountant: Gum arabic, genuine 1 ounce Rice starch 1 ounce White sugar 4 ounces Water, q. s. Dissolve the gum in just sufficient water to completely dissolve it, then add the sugar, and when that has completely dissolved stir in the starch paste, and then boil the mixture until the starch is properly cooked. A very strong, stiff paste for fastening cardboard mounts to frames, wood, and other materials is prepared by making a bowl of starch paste in the usual way, and then adding 1 ounce of Venice tur- pentine per pound of paste, and boil- 42 ADHESIVES ing and stirring the mixture until the thick turpentine has become well incor- porated. Venice turpentine stirred into flour paste and boiled will also be found a very adhesive cement for fastening cardboard, strawboard, leatherette, ana skiver leather to wood or metal; but owing to the resinous nature of the Venice tijrpentine, such pastes are not suitably for mounting photographic prints. The following half-dozen compounds are suitable mountants to use with silver prints: Alcohol, absolute. ... 10 ounces Gelatine, good 1 ounce Glycerine J to 1 ounce Soak the gelatine in water for an hour or two until it is completely softened; take the gelatine out of the water, and allow it to drain, and put it into a bottle and pour alcohol over it; a4d the glycerine (if the gelatine is soft, use only J ounce; if the gelatine is hard, use 1 ounce of the glycerine), then melt the gelatine by standing the bottle in a vessel of hot water, and shake up very well. For use, remelt by heat. The alcohol prevents the prints from stretching or cockling, as they are apt to, under the influence of the gelatine. In the following compound, however, only sufficient alcohol is used to serve as an antiseptic, and prevent the aggluti- nant from decomposing : Dissolve 4 ounces of photographic gelatine in 16 ounces of water (first soaking the gela- tine therein for an hour or two until it is completely softened), then remove the gelatine from the water, allow it to drain, and put it into the bottle, and pour the alcohol over it, and put in the glycerine (if the gelatine is soft, use only J ounce; if the gelatine is hard, use 1 ounce of the glycerine), then melt the gelatine by standing the bottle in a vessel of hot water, and shake up well and mix thor- oughly. For use, remelt by heat. The alcohol prevents the print from stretch- ing or cockling up under the influence of the gelatine. The following paste agglutinant is one that is very permanent and useful for all purposes required in a photographic studio: Take 5 pints of water, 10 ounces of arrowroot, 1 ounce of gelatine, and a J pint (10 fluidounces) of alcohol, and proceed to combine them as follows: Make arrowroot into a thick cream with a little of the water, and in the remainder of the water soak the gelatine for a few hours, after which melt the gelatine in the water by heating it, add the arrow- root paste, and bring the mixture to the boil m(l allQ^ to boil for 4 or 5 njitiutes. then aljow to cool, and mix in the alcohol, adding a few drops of oil of cloves. Perhaps one of the most useful com- pounds for photographic purposes is that Erepared as follows: Soak 4 ounces of ard gelatine in 15 ounces of water for a few hours, then melt the gelatine by heating it in a glue pot until the solution is quite clear and free from lumps, stir in 65 fluidounces of cold water so that it is free from lumps, and pour in the boiling-hot solution of gelatine and con- tinue stirring, and if the starch is not completely cooked, boil up the mixture for a few minutes until it blows," being careful to keep it well stirred so as not to burn; when cold add a, few drops of carbolic acid or some essential oil as an antiseptic to prevent the compound from decomposing or becoming sour. A useful photographic mucilage, which is very liquid, is obtained by mixing equal bulks of gum-arabic and gum-dragon mucijages of the same consistence. The mixture of these mucilages will be con- siderably thinner than either of them when alone. As an agglutinant for general use in the studio, the following is recommended: Dissolve 2 ounces of gum arable in 5 ounces of water, and for every 250 parts of the mucilage add 20 parts of a solu- tion of sulphate of aluminum, prepared by dissolving 1 part of the sulphate in 20 parts of water (common alum should not be used, only the pure aluminum sulphate, because common alum is a jnixture of sulphates, and usually con- taminated with iron salts). The addi- tion of the sulphate solution to the gum mucilage renders the latter less nygroscopic, and practically waterproof, besides being very adhesive to any materials, particularly those exhibiting a smooth surface, MUCItAGES : For AffixingLabels to Glass and Other Objects. — I.— The mucilage is made by simply pouring over the gum enough water to a little more than cover it, and then, as the gum swells, adding more water from time to tiijie in small portions, until the mucilage is brought to such con- sistency that it may be easily spread with the brush. The mucilage keeps fairly well without the addition of any anti- septic. II-— Tragacanth 1 ounce Acacia 4 ounces Thymol 14 grains Glycerine 4 ounces Water, sufficient to fflake , g pints ADHESIVES 43 Dissolve the gums in 1 pint of water, strain and add the glycerine, in which the thymol is suspended; shake well and add sufficient water to msike 2 piints. This separates on standing, but a single shake mixes it sufficiently for use. III. — Rye flour 8 ounces Powdered acacia. 1 ounce Glycerine 2 ounces Oil of cloves 40 drops Water, a sufficient quantity. Rub the rye flour and the acacia to a smooth paste with 8 ounces of cold water; strain through cheese cloth, and pour into 1 pint of boiling water and continue the heat until as thick as desired. When nearly cold add the glycerine and oil of cloves. IV. — One part, by weight, of traga- canth, when mixed with 96-per-cent alco- hol to form 4 fluidounces, forms a liquid in which a portion of the tragacanth is dis- solved and the remainder suspended; this remains permanently fluid, never deteriorates, and can be used in place of the present mucilage; 4 to 8 minims to each ounce of mixture is sufficient to suspend any of the insoluble substances usually given in mixtures. V. — To 250 parts of gum-arabic muci- lage add 20 parts of water and 2 parts of sulphate of alumina, and heat until dis- solved. VI. — Dissolve J pound gum traga- canth, powdered, J pound gum arable, powdered, cold water to the desired con- sistency, and add 40 drops carbolic acid. Mucilage of Acacia. — Put the gum, which should be of the best kind, in a flask the size of which should be large enough to contain the mucilage with about one- fifth of its space to spare (i. e., the product should fill It about fbUr-fifths full). Now tare, and wash the gum with distilled wa- ter, letting the latter drain away as much as possibi'e before proceeding further. Add the requisite quantity of distilled water slowly, which, however, should first have added to it about 10 per cent of limeWater. Now cork the flask, and lay it, without shaking, horizontally in a cool place and let it remain quietly for about 3 hours, then give it a half turn to the right without disturbing its horizontal position. Repeat this operation three or four times during the day, and keep it up until the gum is completely dissolved (whieh will not be until the fourth day probably), then strain through a thin cloth previously wet with distilled wa- ter, avoiding, in so doing, the formation of foam or bubbles. This precaution should also be observed in decantation of the percolate into smaller bottles pro- vided with paraffine corks. The small amount of llmewater, as will be under- Stood, is added to the solvent water in order to prevent the action of free acid. Commercial Mucilage. — Dissolve J pound white glue in equal parts water and strong vinegar, and ada J as much alcohol and J ounce alum dissolved in a little \vater. To proceed, first get good glue and soak in cold water Until it swells and softens. Use pale vinegar. Pour ofif the cold water, then melt the glue to a thick paste in hot water, and add the vinegar hot. When a little cool add the alcohol and alum water. To Render Gum Arabic More Ad- hesive. — I. — Add crystallized aluminum sulphate in the proportion of 2 dissolved in 20 parts of water to 250 parts of con- centrated gum solution (75 parts of gum in 175 parts of water). II. — Add to 250 parts of concentrated gum solution (2 parts of gum in 6 parts -of water) 2 parts of crystallized alumi- num sulphate dissolved in 20 parts of Water. This mixture glues even unsized paper, pasteboard on pasteboard, wood on Wood, glass, porcelain, and other substances on which labels frequently do not adhere well. Envelope Gum. — The gum used by the United States Government on postage stamps is probably one of the best that could be used not only for envelopes but for labels as well. It will stick to almost any surface. Its composition is said to be the following: Gum arable 1 part Starch 1 part Sugar 4 parts Water, sufficient to give the desired con- sistency. * ^ The gum arable is first dissolved in some water, the sugar added, then the starch, after which the mixture is boiled for a few minutes in order to dissolve the starch, after which it is thinned down to the desired consistency. Cheaper envelope gums can be made by substituting dextrine for the gum arable, glucose for the sugar, and adding boric acid to preserve and help stiffen it. Mucilage to Make Wood and Paste- board Adhere to Metals. — Dissolve 50 parts, by weight, of lead acetate together with 5 parts, by weight, of alum in a little water. Make a separate solution of 75 parts, by weight, of gum arable in 2,000 parts, by weight, of water, stir in this 500 44 ADHESIVES parts, by weight, of flour, and heat slowly to boiling, stirring the while. Let it cool somewhat, and mix with it the solution containing the lead acetate and alum, stirring them well together. Preservation of Gum Solution. — Put a small piece of camphor in the mucilage bottle. Camphor vapors are generated which kill all the bacterial germs that have entered the bottle. The gum main- tains its adhesiveness to the last drop. ADULTERANTS IN FOODS: See Foods. ADUROL DEVELOPER: See Photography. JESCO -QUININE: See Horse Chestnut. AGAR AGAR PASTE: See Adhesives. AGATE, BUTTONS OF ARTIFICIAL. Prepare a mixture or frit of 33 parts of quartz sand, 65 parts calcium phos- phate, and 2 parts of potash. The frit, which has been reduced by heat to the fusing point, is finely ground, intimately mingled with a small quantity of kaolin and pressed in molds which yield button- shaped masses. These masses, after hav- ing been fired, are given a transparent glaze by any of the well-known processes. AGATE (IMITATION): See Gems, Artificial. AGING OF SILK: See Silk. AGING, SILVER AND GOLD: See Plating. AIR BATH. This air bath is employed in cases in which, upon drying or heating sub- stances, acid vapors arise because the walls of the bath are not attacked by them. For the production of the drying apparatus take a flask with the bottom burst off or a bell jar tubulated above. This is placed either upon a sand bath or upon asbestos paper, previously laid upon a piece of sneet iron. The sand bath or the sheet iron is put on a tripod, so that it can be heated by means of a burner placed underneath. The sub- stance to be dried is placed in a glass or porcelain dish, which is put under the bell jar, and if desired the drying dish may be hung on the tripod. For regu- lating the temperature the tubulure of the ]ar is closed with a pierced cork, through whose aperture the thermom- eter is thrust. In order to permit the vapors to escape, the cork is grooved lengthwise along the periphery. AIR BUBBLES IN GELATINE: See Gelatine. AIR, EXCLUSION OF, FROM SOLU- TIONS: See Photography. AIR-PURIFYING. Ozonatine is a fragrant air-purifying preparation consisting of dextrogyrate turpentine oil scented with slight quan- tities of fragrant oils. ALABASTER CLEANING: See Cleaning Preparations and Meth- ods. ALBATA METAL: See Alloys. ALBUMEN IN URINE, DETECTION OF. Patein {Pharm. Zeit.) recommends the following test for albumen in urine: Dissolve 250 grams of citric acid in a sufficient quantity of water, add enough ammonia to neutralize, then 50 grams of alcohol, and finally enough water to make 1 liter. To the acid (or acidulated) urine, one-tenth its volume of the ammo- nium-citrate solution made as above is added, and the whole heated in the usual manner. The appearance of the faint- est turbidity is said to indicate with pos- itive certainty the presence of albumen. ALBUMEN PAPER: See Photography. ALBUMEN PASTE: See Adhesives. Alcohol After the manuscript of this book was ready for the press, Congress passed the bill which has since become a law, whereby the prohibitive tax on industrial or de- natured alcohol is removed. So impor- tant is this legislative measure that the Editor has deemed it wise to insert an article on the sources of alcohol and the manufacture of alcohol from farm prod- ucts. Because the first portion of the book was in type when this step was de- cided upon, the Editor was compelled to relegate to a later page a monograph which should properly have appeared here. The reader will find the matter on alcohol referred to under the heading ALCOHOL 45 "Spirit"; likewise methods of denaturing ana a list of denaturants. ALCOHOL, DILUTION OF: See Tables. Alcohol, Tests for Absolute. — The committee for the compilation of the German Arzneibuch established the fol- lowing tests for the determination of ab- solute alcohol: Absolute alcohol is a clear, colorless, vol- atile, readily imflammable liquid which burns with a faintly luminous flame. Absolute alcohol has a peculiar odor, a burning taste, and does not affect litmus paper. Boiling point, 78.50. Specific gravity, 0.795 to 0.797. One hundred parts contain 99.7 to 99.4 parts, by vol- ume, or 99.6 to 99.0 parts, by weight, of alcohol. Absolute alcohol should have no for- eign smell and should mix with water without cloudiness. After the admixture of 5 drops of sil- ver-nitrate solution, 10 cubic centimeters of absolute alcohol should not become turbid or colored even on heating. A mixture of 10 cubic centimeters of absplute alcohol and 0.2 cubic centimeter of potash lye evaporated down to 1 cubic centimeter should not exhibit an odor of fusel oil after supersaturation with dilute sulphuric acid. Five cubic centimeters of sulphuric acid, carefully covered, in a test tube, with a stratum of 5 cubic centimeters of absolute alcohol, should not form a rose- colored zone at the surface of contact, even on standing for some time. ■ The red color of a mixture of 10 cubic centimeters of absolute alcohol and 1 cubic centimeter of potassium-perman- ganate solution should not pass into yellow before 20 minutes. Absolute alcohol should not be dyed by hydrogen sulphide water or by aque- ous ammonia. Five cubic centimeters of absolute al- cohol should not leave behind a weighable residue kfter evaporation on water bath. Absolute Alcohol. — If gelatine be sus- pended in ordinary alcohol it will absorb the water, but as it is insoluble in alcohol, that substance will remain behind, and thus nearly absolute alcohol will be ob- tained without distillation. Perfumed Denaturized Alcohol. — ' East India lemon oil 1,250 parts Mirbane oil 1,000 parts Cassia oil 50 parts Clove oil 75 parts Lemon oil .^ 100 parts Amyl acetate 500 parts Spirit (95 per cent) . 7,000 parts Dissolve the oils in the spirit and add the amyl acetate. The mixture serves for destroying the bad odor of denatur- ized spirit in distilling. Use 50 parts of the perfume per 1,000 parts of spirit. Solid Alcohol.— I.— Heat 1,000 parts of denaturized alcohol (90 per cent) in a flask of double the capacity on the water bath to about 140° F., and then mix with 28 to 30 parts of well-dried, rasped Venetian soap and 2 parts of guni lac. After re- peated shaking, complete dissolution will take place. The solution is put, while still warm, into metallic vessels, closing them up at once and allowing the mixture to cool therein. The admix- ture of gum lac effects a better preserva- tion and also prevents the evaporation of the alcohol. On lighting the solid spirit the soap remains behind. II.— Smaragdine is a trade name for solidified alcohol. It consists of alcohol and gun cotton, colored with malachite green. It appears in the market in the form of small cubes. Alcohol in Fermented Beers. — Expe. rience has shown that J pound of sugar to 1 gallon of water yields about 2 per cent of proof spirit, or about 1 per cent of ab- solute alcohol. Beyond this amount it is not safe to go, if the legal limit is to be observed, yet a ginger beer brewed with J pound per gallon of sugar would be a very wishy-washy compound, and there is little doubt that a much larger quantity is generally used. The more sugar that is used — up to 11 or 1 J pounds per gallon — the better the drink will be and the more customers will relish it; but it will be as "strong" as lager and contain per- haps 5 per cent of alcohol, which will make . it anything but a " temperance" drink. Any maker who is using as much as even J pound of sugar per gallon is bound to get more spirit tnan the law allows. Meanwhile it is scarcely accurate to term ginger beers, etc., non-alcoholic. Alcohol Deodorizer. — Alcohol 160 ounces Powdered quicklime. 300 grains Powdered alum 150 grains Spirit of nitrous ether 1 J drachms Mix the lime and alum intimately by trituration; add the alcohol and snake well; then add the spirit of nitrous ether; set aside for 7 days and filter through animal charcoal. Denaturized Alcohol. — There are two general classes or degrees of denaturizing, viz., the "complete" and the "incom- plete," according to the purpose for 46 ALCOHOL which the alcohol so denaturized is to. be ultimately used. I. — Complete denaturization by the German system is accomplished by the addition to every 100 liters (equal to 26 J gallons) of spirits: (a) 'JTwo and one-half liters of the "stand- ard" denaturizer, made of 4 parts of wood alcohol, 1 part of pyridine (a nitro- genous base obtained by distilling bone oil or coal tar), with the addition of 50 grams to each Kter of oil of lavender or rosemary. (6) One and one-fourth liters of the above "standard" and 2 liters of benzol with every 100 liters of alcohol. II. — Incomplete denaturization — i. e., sufficient to prevent alcohol from being drunk, but not to disqualify it from use for various special purposes, for which the wholly denaturized spirits would be unavailable — is accomplished by several methods as follows, the quantity and nature of each substance given being the prescribed dose for each 100 liters (261 gallons) of spirits: (c) Five liters of wood alcohol or J liter of pyridine. (d) Twenty liters of solution of shellac, containing 1 part gum to 2 parts alcohol of 90-per-cent purity. Alcohol for the manufacture of celluloid and pegamoid is denaturized. (e) By the addition of 1 kilogram of camphor or 2 liters oil of turpentine or i liter benzol to each 100 liters of spirits. Alcohol to be used in the manufacture of ethers, aldehyde, agaricin, white lead, bromo-siiver gelatines, photographic pa- pers and plates, electrode plates, collo- dion, salicylic acid and salts, aniline chemistry, and a great number of other purposes, is denaturized by the addition of— (/) Ten liters sulphuric ether, or 1 part of benzol, or J part oil of turpentine, or Q.02S part of animal oil. For the manufacture of varnishes and inks alcohol is denaturized by the addi- tion of oil of turpentine or animal oil, and for the production of soda soaps by the addition of 1 kilogram of castor oil. Alcohol for the production of lanolin is prepared by adding 5 liters of benzine to each hectoliter of spirits. ALE. The ale of the modern brewer is man- ufactured in several varieties, which are determined by the wants of the consumer and the particular market for which it is intended. Thus, the finer kinds of Burton, East India, Bavarian, and other like ales, having undergone a thorough fermentation, contain only a small quan- tity of undecomposed sugar and gum, varying from 1 to 5 per cent. Some of these are highly "hopped" or "bittered," the further to promote their preservation during transit and change of temper- ature. Mild or sweet ales, on the con- trary, are less accentuated by lengthened fermentation, and abound in saccharine and gummy matter. They are, there- fore, more nutritious, though less intox- icating, than those previously referred to. In brewing the finer kinds of ales, pale malt and the best hops of the current season's growth are always employed; and when it is desired to produce a liquor possessing little color, very great atten- tion is paid to their selection. With the same object, the boiling is conducted with more than the usual precautions, and the fermentation is carried on at a somewhat lower temperature than that commonly allowed for other varieties of beer. For ordinary ale, intended for immediate use, the malt may be all pale; but, if the liquor be brewed for keeping, and in warm weather, when a slight color is not objec- tionable, one-fifth, or even one-fourth of amber malt may be advantageously .em- ployed. From 4i to 6 pounds of hops is the quantity commonly used to the one- fourth of malt, for ordinary ales; and 7 pounds to 10 pounds for "keeping" ales. The proportions, however, must greatly depend on the intended quality and de- scription of the brewing; and the period that will be allowed for its maturation. The stronger varieties of ale usually contain from 6 to 8 per cent of "absolute alcohol" ; ordinary strong ale, 4 1 to 6 per cent; mild ale, 3 to 4 per cent; andtable ale, 1 to 11 per cent (each by volume) ; togeth- er with some undecomposed saccharine, gummy, and extractive matter, the bitter and narcotic principles of the hop, some acetic acid formed by the oxidation of the alcohol, and very small and variable quantities of mineral and saline matter. Ordinary ale-wort (preferably pale), sufficient to produce 1 barrel, is slowly boiled with about 3 handfuls of hops, and 12 to 14 pounds of crushed groats, until the whole of the soluble matter of the latter is extracted. The resulting liquor, after being run through a coarse strainer and become lukewarm, is fer- mented with 2 or 3 pints of yeast; and, as soon as the fermentation is at its height, is either closely bunged up for draft or is at once put into strong stone- ware bottles, which are then well corked and wired. White ale is said to be very nutritious, though apt to prove laxative to those un- ALLOYS 47 accustomed to its use. It is drunk in a state of effervescence or lively fermenta- tion; the glass or cup containing it being kept in constant motion, when removed from the mouth, until the whole is con- sumed, in order that the thicker portion may not subside to the bottom. ALE, GINGER: See Beverages. ALFENIDE METAL: See Alloys. ALKALI, HOW TO DETECT : See Soaps. ALKALOIDS, ANTIDOTES TO: . See Atropine. Alloys No general rules can be given for alloying metals. Alloys differing greatly in fusibility are commonly made by adding the more fusible ones, either in the melted state or in small portions at a time, to the other melted or heated to the lowest possible temperature at which a perfect union will take place between them. The mixture is usually effected under a flux, or some material that will promote liquefaction and prevent vola- tilization and unnecessary exposure to the air. Thus, in melting lead and tin together for solder, rosin or tallow is thrown upon the surface is rubbed with sal ammoniac; and in combining some metals, powdered charcoal is used for the same purpose. Mercury or quick- silver combines with many metals in the cold, forming amalgams, or easily fusible alloys (q. v.). Alloys generally possess characteris- tics unshared by their component metals. Thus, copper and zinc form brass, which has a different density, hardness, and color from either of its constituents. Whether the metals tend to unite in atomic proportions or in any definite ratio is still undetermined. The evi- dence afforded by the natural alloys of gold and silver, and by the phenomena accompanying the cooling of several alloys from the state of fusion, goes far to prove that such is the case (Rud- berg). The subject is, however, one of considerable difficulty, as metals and metallic compounds are generally solu- ble in each other, and unite by simple fusion and contact. That they do not combine indifferently with each other, but exercise a, species of elective affinity not dissimilar to other bodies, is clearly shown by the homogeneity and superior quality of many alloys in which the con- stituent metals are in atomic proportion. The variation of the specific gravity and melting points of alloys from the mean of those of their component metals also affords strong evidence of a chemical change having taken place. Thus, alloys generally melt at lower temperatures than their separate metals. They also usually possess more tenacity and hardness than the mean of their constituents. Matthiessen found that when weights are suspended to spirals of hard-drawn wire made of copper, gold, or platinum, they become nearly straightened when stretched by a moderate weight; but wires of equal dimensions composed of copper-tin (12 per cent of tin), silver- platinum (36 per cent of platinum), and gold-copper (84 per cent of copper) scarce- ly undergo any permanent change in form when subjected to tension by the same weight. The same chemist gives the following approximate results upon the tenacity 01 certain metals and wires hard-drawn through the same gauge (No. 23) : Pounds Copper, breaking strain 25-30 Tin, breaking strain under 7 Lead, breaking strain under 7 Tin-lead (20% lead) about 7 Tin-copper (12% copper). . .about 7 Copper-tin (12% tin) about 80-90 Gold (12% tin) : . . 20-25 Gold-copper (8.4% copper) 70-75 Silver (8.4% copper) 45-50 Platinum (8.4% copper) 45-50 Silver-platinum (30% platinum) . 75-80 On the other hand, the malleability, ductility, and power of resisting oxygen of alloys is generally diminished. The alloy formed of two brittle metals is always brittle; that of a brittle and a duc- tile metal, generally so; and even two ductile metals sometimes unite to form a brittle compound. The alloys formed of metals having different fusing points are usually malleable while cold and brittle while hot. The action of the air on alloys is generally less than on their simple metals, unless the former are heated. A mixture of 1 part of tin and 3 parts of lead is scarcely acted on at common temperatures; but at a red heat it readily takes fire, and continues to burn for some time like a piece of bad turf. In like manner, a mixture of tin and zinc, when strongly heated, de- composes both moist air and steam with rapidity. The specific gravity of alloys is rarely 48 ALLOYS the arithmetical mean of that of- their constituents, as commonly taught; and in many cases considerable condensation or expansion occurs. When there is a strong affinity between two metals, the density of their alloy is generally greater than the calculated mean; and vice versa, as may be seen in the following table: Allots having a density Greater than the Mean of their Constit- uents: Copper and bismuth. Copper aijd palladium. Copper and tin, Copper and zinc. Gold and antimony. Gold and bismuth, Gold and cobalt. Gold and tin. Gold and zinc. Lead and antimony. Palladium and bismuth. Silver and antimony. Silver and bismuth. Silver and lead. Silver and tin. Silver and zinc. Less than the Mean of their Constituents: Gold and copper. Gold and iridium. Gold and iron. Gold and lead. Gold and nickel. Gold and silver. Iron and antimony. Iron and bismuth, Iron and lead, Nickel and arsenic. Silver and copper. Tin and antimony, Tin and lead. Tin and palladium, Zinc and antimony. Compounding Alloys. — Considerable experience is necessary to insure success in compounding alloys, especially when the metals employed vary greatly in fusibility and volatility. The following are rules supplied by an experienced workman: 1. Melt the least fusible, oxidizable, and volatile first, and then add the others heated to their point of fusion or near it. Thus, if it is desired to make an alloy of exactly 1 part of copper and 3 of zinc, it will be impossible to do so by putting proportions of the metals in a crucible and exposing the whole to heat. Much of the zinc would fly oflf in vapor before the copper was melted. First, melt the copper and add the zinc, which has been melted in another crucible. The zinc should be in excess, as some of it will be lost anyway. 2. Some alloys, as copper and zinc, copper and arsenic, may be formed by exposing heated plates of the least fusi- ble metal to the vapor of the other. In making brass in the large way, thin plates of copper are dissolved, as it were, in melted zinc until the proper proportions have been obtained. 3. The surface of all oxidizable metals should be covered with some protecting agent, as tallow for very fusible ones, rosin for lead and tin, charcoal for zinc, copper, etc. 4. Stir the metal before casting and if possible, when casting, with a white- wood stick; this is much better for the purpose than an iron rod. 5. If possible, add a small portion of old alloy to the new. If the alloy is re- quired . to make sharp castings and strength is not a very great object, the proportion of old alloy to the new should be increased. In all cases a new or thoroughly well-cleansed crucible should be used. To obtain metals and metallic alloys from their compounds, such as oxides, sulphides, chlorides, etc., a process lately patented makes use of the reducing qualities of aluminum or its alloys with magnesium. The finely powdered ma- terial (e. g., chromic oxide) is placed in a^ crucible mixed with aluminum oxide. The mixture is set afire by means of a soldering pipe or a burning magnesium wire, and the desired reaction takes place. For igniting, one may also employ with advantage a special priming cartridge consisting of pulverized aluminum to which a little magnesium may be mixed, and peroxide of magnesia, which is shaped into balls and lighted with a magnesium wire. By suitable additions to the pulverized mixture, alloys con- taining aluminum, magnetism, chro- mium, manganese, copper, iron, boron, silicic acid, etc., are obtained. ALUMINtrM ALLOYS. M. H. Pecheux has contributed to the Comptes Rendus, from time to time, the results of his investigations into the alloys of aluminum with soft metals, and the following constitutes a brief summary of his observations: Lead. — When aluminum is melted and lead is added in proportion greater than 10 per cent, the metals separate on cooling into three layers — lead, alumi- num, and between them an alloy contain- ing from 90 to 97 per cent of aluminum. ALLOYS 49 The allays with 93, 95, and 98 per cent have densities of 2.745, 2.674, and 2.600 re- spectively, and melting points near that of aluipinum. Their color is like that of aluminum, but they are less lustrous. All are malleable, easily cut, softer than aluminum, and have a granular fracture. On remelting they become somewhat richer in lead, through a tendency to liquation. They do not oxidize in moist air, nor at their melting points. They are attacked in the cold by hydrochloric and by strong sulphuric acid, with evo- lution of hydrogen, and by strong nitric acid when hot; strong solution of po- tassium hydroxide also attacks them. They are without action on distilled water, whether cold or hot. Zinc. — Well-defined alloys were ob- tained, corresponding to the formulas ZnsAl, ZnjAl, ZnAl, ZnAlj, ZnAls, ZnAU, ZnAle, ZnAl,o, ZnAlu. Their melting points and densities all lie be- tween those of zinc and aluminum, and those containing most zinc are the hard- est. They are all dissolved by cold hydrochloric acid and by hot dilute nitric acid. Cold concentrated nitric acid at- tacks the first three, and cold dilute acid the first five.- The ZnaAl, ZnAU, ZnAli„, and ZnAlis are only slightly affected by cold potassium-hydroxide solution; the others are strongly attacked, potassium zincate and aluminate probably being formed. Tin. — A filed rod of tin-aluminum alloy plunged in cold water gives off for some minutes bubbles of gas, composed of hydrogen and oxygen in explosive pro- portions. An unfiled rod, or a filed rod of either aluminum or tin, is vrithout action, though the unfiled rod of alloy will act on boiling water. The filed rod of alloy, in faintly acid solution of cop- per or zinc sulphate, becomes covered with a deposit of copper or zinc, while bubbles of oxygen are given off. M. Pecheux believes that the metals are truly alloyed only at the surface, and that filing lays bare an almost infinitely numerous series of junctions of the two metals, which, heated by the filing, act as ther- mocouples. Bismuth. — By the method used for lead, bismuth alloys were obtained con- taining 75, 85, 88, and 94 per cent of aluminum, with densities 2.86, 2.79, 2.78, and 2.74 respectively. They were sonorous, brittle, finely grained, and homogeneous, silver-white, and with melting points between those of their con- stituents, but nearer that of aluminum. They are not oxidized in air at the tem- perature of casting, but are readily at- tacked by acids, concentrated or dilute, and by potassium-hydroxide solution. The filed alloys behave like those of tin, but still more markedly. Magnesium. — These were obtained with 66, 68, 73, 77, and 85 per cent of aluminum, and densities 2.24, 2.47, 2.32, 2.37, 2.47. They are brittle, with large granular fracture, silver-white, file well, take a good polish, and have melt- ing points near that of aluminum. Being viscous when melted, they are dif- ficult to cast, and when slowly cooled form a gray, spongy mass which cannot be remelted. They do not oxidize in air at the ordinary temperatures, but burn readily at a bright-red heat. They are attacked violently by acids and by potassium-hydroxide solution, decom- pose hydrogen peroxide, and slowly de- compose water even in the cold. Tin, Bismuth, and Magnesium. — The action of water on these alloys just re- ferred to has been recently demonstrated on a larger scale, 5 to 6 cubic centimeters of hydrogen having been obtained in 20 minutes from 2 cubic centimeters of the filed tin alloy. The bismuth alloy yield- ed more hydrogen than the tin alloy, and the magnesium alloy more than the bis- muth alloy. The oxygen of the decom- posed water unites with the aluminum. Larger quantities of hydrogen are ob- tained from copper-sulphate solution, apart from the decomposition of this solution by precipitation of copper at the expense of the metal alloyed with the aluminum. The alloys of aluminum with zinc and lead do not decompose pure water, but do decompose the water of copper-sulphate solution, and, more slowly, that of zinc-sulphate solution. Aluminum is a metal whose properties are very materially influenced by a pro- portionately small addition of copper. Alloys of 99 per cent aluminum and 1 per cent of copper are hard, brittle, and bluish in color; 95 per cent of aluminum and 5 per cent of copper give an alloy which can be hammered, but with 10 per cent of cop- per the metal can no longer be worked. With 80 per cent and upward of copper are obtained alloys of a beautiful yelfow color, and these mixtures, containing from 5 to 10 per cent of aluminum and from 90 to 95 per cent of copper, are the genuine aluminum bronzes. The 10-per-cent al- loys are of a pure golden-yellow color; with 5 per cent of aluminum they are reddish yellow, like gold heavily alloyed with copper, and a 2-per-cent admix- ture is of an almost pure copper red. 60 ALLOYS As the proportion of copper increases, the brittleness is diminished, and alloys containing 10 percent and less of aluminum can be used for industrial purposes, the best consisting of 90 per cent of copper and 10 of aluminum. The hardness of this alloy approaches that of the general brbnzes, whence its name. It can be sttetchbd out into thin sheets between rollers, worked under the hammer, and shaped as desired by beating or pressure, in powerful stamping presses. On ac- count of its hardness it takes a fine pol- ish, and its pechliar greenish-gold color resembles that of gold alloyed with cop- per arid silver together. Alloys with a Still greater proportion of cbpper approach this metal more arid more nearly in their charactfer; the color 6f ari alloy, for instance, coriiposed of 95 per cent of copper and 5 per cent of alu- mintim, can bfe distinguished from ptire gold only by dirfect comparison, and the Blfetal is very hard, and also very riial- leable. Electrical Conductivity of Altiminum Alloys. — During three years' exposure to the atmosphere, copper-aluminiim allo;j's in one test gi'adually diminishfed in con- ductivity in pro^bi-iJon to the amount of coppfer they contained. Thfc nickel-copper aluminum alloys, which show such re- markably increased tensile strength as compared with good coinmercial alumii- Hum, Considerably diminished in total con- ductivity. On the other nahd, the man- ganese-ctfpper aluininttm alloys suffered coirlparatively little diminution in total coriductivity, a;hd one of thein retained comparatively high tensile strength. It wais thought that an examination of the structure of these alloys by aid of inicrophotography itiight throw some light on the great difference which exists between soihe of their physical proper- ties. For instance, a nickel-copper alii- ininuni ailloy hss 1.6 times the tensile Strength of ordinary comiriercial alumi- num. Under a riiagnification of 800' diameters practically no structure could be discovered. Considering the re- niarkable crystalline structure exhibited by ordinary commercial aluminum near the surface of an ingot, when allowed to solidify at an ordinary rate, the waiit of structure in these alwys must be attrib- uted to the process; of drawing down. The inference . is that the great ditfer- ence which exists between their tensile strengths and other qualities is not due to variation in structure. Golored Alloys of Aluminum. — A pur- ple sciKtiHating composition is produced by an alloyage of 78 parts of gold and 22 parts aluminum. With platinum a gold- colored alloy is obtained; with palladium a copper-colored one; and with cobalt and nickel one of a yellow color. Easily fusible metals of the color of aluminum give white alloys. Metal diflicult of fusion, such as iridium, osmium, tita- nium, etc., appear in abnormal tones of color through such alloyages. Aluminum-Brass. — Aluminum, 1 per cent; specific gravity, 8.35 ; tensile strength, 40. Aluminum, 3 per cent; specific grav- ity, 8.33; tensile strength, 65. T^he last named is harder than the first. Aluminum-Copper. — Minikin is prin- cipally aluminuHi with a sinall percent- age of copper and nickel. It is alloyed by mixing the aluminum and copper, then adding the nickel. It resembles palladium and is very strong. Altmiinuin- Silver. — I. — Silver, 3 per cent; aluminum, 97 per cent. A hand- some color. II. — A silver aluminum that is easily worked into various articles contains about one-foUrth silver and three-fourths of aluminum. Ahlfninum-Tin. — Boilrbon metal is composed of equal parts of aluminiim and tin; it solders rftadily. Aluminum-Tungsten. ^ — A new metal alloy consisting of aluminum and tung- sten is used of late in France in the con- struction of conveyances, especially car- riages, bicycles, and motor vehicles. The French call it partinium; the com- position of the new alloy varies according to the purposes for which it is used. It is considerably cheaper than aluminum, almost as light, and has a greater resist- ance. The strength is stated at 32 to 37 kilograms per square millimeter. Aluminum-Zinc. — Zinc, 3 per Oeirt; aluminum, 97 per cent. V^ry ductile, whiffe, and harder than alumiUum, AMALGAMS : See Fusible Alloys. Anti-Friction Bearing or Baf)t)itt Met- als.— These alloys are usually supported by bearings of brass, into which it is poure«-HMU3lOWNC0 \ I OS rH CD (N ^' 00 b- •^1 ooo "o qqq ;q ooo 'o qoq :q ouid -t^ « ""g'2 S JJ ^^^^^ » M S » 2 i 9 i i i i s^v.fl|l=3 ^ sS|^ a s ■;i>eHa««asa>;>stiaxx Other white bearing metals are: XXI. — Tin, 8.5; antimony, 10; cop- per, 5 parts. XXIl.— Tin, 42; antimony, 16; lead, 72; antimony, 26; cop- antimony, 12.5; pel pa 50 parts; nickel, parts; nickel, parts; nickel, parts; nickel. 25 24 42 parts. XXIII.— Tin, per, 2 parts. XXrV.— Tin, 81; copper, 6.5 parts. White Metals Based on Copper. — I. — Copper, 65 parts; arsenic, 55 parts. II. — Copper, 64 parts; arsenic, 50 parts. III. — Copper, 10 parts; zinc, 20 parts; nickel, 30 parts. IV. — Nickel, 70 parts; copper, 30 parts; zinc, 20 parts. V. — Nickel, 60 parts; copper, 30 parts; zinc, 30 parts. VI. — Copper, 8 parts; nickel, 4 parts; zinc, 4 parts. VII.— Copper, 10 parts; zinc, 5 parts. VIII.— Copper, 8 parts; zinc, 4 parts. IX.-;Copper, 50 parts; zinc, 25 parts. X. — Copper, 55 parts; zinc, 21 parts. XI. — Copper, 55 parts; nickel, 24 parts; zinc, 16 parts; iron, 2 parts; tin, 3 parts. IX, A, and XI are suitable for table- ware. XII. — Copper, 67 parts, and arsenic, 53 parts. XIII. — Copper, 63 parts, and arsenic, 57 parts. XII and XIII are bright gray, un- affected by the temperature of boiling wa- ter; they are fusible at red heat. White Metals Based on Platinum. — I. — Platinum, 1 part; copper, 4 parts; or platinum, IJ parts; copper, 3J parts. II. — Platinum, 10 parts; tin, 90 parts; or platinum, 8 parts; tin, 92 parts. ni.— Platinum, 7 parts; copper, 13 parts; tin, 80 parts. IV. — Platinum, 2 parts; steel, 98 parts. V. — Platinum, 2.5 parts; steel, 97.5 parts. IV and V are for gun metal. Miscellaneous White-Hfetal Alloys. — I. — For lining cross-head slides : Lead, 65 parts; antimony, 25 parts; copper, 10 parts. Some object to white metal containing lead or zinc. It has been found, however, that lead and zinc have properties of great use in these alloys. II. — Tin, 85 parts; antimony, 1\ parts; copper, 7 J parts. III. — Tin, 90 parts; copper, 3 parts; antimony, 7 parts. 80 ALUMINUM AND ITS TREATMENT ZINC ALLOYS : Bidery Metal. — This is sometimes composed of 31 parts of zinc, 2 parts of copper, and 2 parts of lead; the whole is melted on a layer of rosin or wax to avoid oxidation. This metal is ver^ resistive; it does not oxidize in air or moisture. It takes its name from the town of Bider, near Hyderabad (India), where it was prepared for the first time industrially for the manufacture of different utensils. Other compositions of Indian Bidery metal (frequently imitated in England) are about as follows: P.O. P.O. P.C. Copper... 3.5 11.4 16 Zinc 93.4 84.3 112 Tin 1.4 2 Lead 3.1 2.9 4 Brhardt recommends the following as being both ductile and hard: Zinc 89 to 93 Tin 9 to 6 Lead 2 to 4 Copper 2 to 4 The tin is first melted, and the lead, zinc, and copper added successively. Zinc-Nickel. — Zinc, 90 parts; nickel, 10 parts. Used in powder form for painting and cloth printing purposes. Platine for Dress Buttons. — Copper, , 43 parts; zinc, 57 parts. UNCLASSIFIED ALLOYS : Alloys for Drawing Colors on Steel. — Alloys of various composition are suc- cessfully used for drawing colors on steel. To draw to a straw color use 2 parts of lead and 1 part of tin, and melt in an iron ladle. Hold the steel piece to be drawn in the alloy as it melts and it will turn to straw color. This mixture melts at a temperature of about 437° F. For darker yellow use 9 parts of lead to 4 parts of tin, which melts at 458° F. For purple, use 3 parts of lead to 1 part of tin, the melting temperature being 482° F. For violet, use 9 parts of lead to 2 parts of tin, which melts at 494° F. Lead without %ny alloy will draw steel to a dark blue. The above apply to steel only since iron requires a somewhat greater neat and is more or less uncer- tain in handling. Alloy for Pattern Letters and Figures. — A good alloy for casting pattern letters and figures and similar small parts of brass, iron, or plaster molds, is made of lead 80 parts, and antimony 20 parts. A better alloy will be lead 70 parts, an- timony and bismuth each 15 parts. To insure perfect work the molds should be quite hot by placing them over a Bun- sen burner. Alloy for Caliper and Gage-Rod Cast- ings. — A mixture of 30 parts zinc to 70 parts aluminum gives a light and durable alloy for gage rods and caliper legs; the gage rods must be steel tipped, for the alloy is soft and wears away too rapidly for gage points. Alloys for Small Casting Molds. — Tin, 75 parts, and lead, 22 parts; or 75 parts of zinc and 25 parts of tin; or 30 parts of tin and 70 parts of lead; or 60 parts of lead and 40 parts of bismuth. ALLOYS FOR METAL FOIL: See Metal Foil. ALMOND COLD CREAM: See Cosmetics. ALMOND LIQUEURS: See Wines and Liquors. ALTARS, T9 CLEAN: See Cleaning Preparations and Meth- ods. ALUM: Burnt Alum. — I. — Heat the alum in a porcelain dish or other suitable vessel till it liquefies, then raise and continue the heat, not allowing it to exceed 400°, till aqueous vapor ceases to be disen- gaged, and the salt has lost 47 per cent of Its weight. Reduce the residue to pow- der, and preserve it in a well-stoppered bottle. — Cooley. II. — Heat ordinary alum (alumina alum) with constant stirring in an iron pan in which it will first melt quietly, and then commence to form blisters. Continue heating until a dry white mass of a loose character remains, which is powdered and kept in well-closed glasses. ALUM BATH: See Photography. Aluminum and its Treatment HOW TO COLOR ALUMINUM: Blanching of Aluminum. — Aluminum is one of the metals most inalterable by air; nevertheless, the objects of aluminum tarnish quickly enough without being ALUMINUM AND ITS TREATMENT 81 watered. They may be restored to their mat whiteness in the following manner: Immerse the aluminum articles in a boiling bath of caustic potash; next plunge them quickly into nitric acid, rinse and let dry. It must be under- stood that this method is applicable only to pieces entirely of aluminum. Decolorized Aluminum. — Gray or un- sightly aluminum may be restored to its white color by washing with a mixture of 30 parts of borax dissolved in 1,000 parts of water, with a few drops of am- monia added. Mat Aluminum. — In order to impart to aluminum the appearance of mat silver, plunge the article into a hot bath composed of a 10-per-cent solution of caustic soda saturated with kitchen salt. Leave it in the bath for 15 to 20 seconds, then wash and brush; put back into the bath tor half a minute, wash anew and dry in sawdust. To Blacken Aluminum.— I. — The sur- face of the sheet to be colored is polished with very fine emery powder or finest emery cloth. After polishing pour a thin layer of olive oil over the surface and heat slowly over an alcohol flame. Large sheets must, of course, be heated in the drying oven. After a short while pour on oil again, in order to obtain ab- solute uniformity of the coating, and heat the plate once more. Under the action of the heat the plate turns first brown, then black, according to the degrees of heat. When the desired coloration has been attained, the plate is polished over again, after cooling, with a woolen rag or soft leather. II. — White arsenic 1 ounce Sulphate of iron .... 1 ounce Hydrochloric acid . . 12 ounces Water 12 ounces When the arsenic and iron are dis- solved by the acid add the water. The aluminum to be blackened should be well cleaned with fine emery powder and washed before immersing in the blackening solution. When the deposit of black is deep enough dry off with fine sawdust and lacquer. Decorating Aluminum. — A process for decorating aluminum, patented in Ger- many, prescribes that the objects be first corroded, which is usually done with caustic soda lye, or, better still, by a new method which consists in heating 3 parts of sulphuric acid with 1 part of water to 140° to 158° F., in an enameled vessel. Into this liquid dip the aluminum arti- cles, rinsing them off clean and then dry- ing them well. The corroded articles are now placed in a bath consisting of 1,000 parts of alcohol (90 per cent), 1.50 parts of antimony, 250 parts of chemically pure hydrochloric acid, 100 parts of manganous nitrate, and 20 parts of purified and finally elutriated graph- ite. In this bath, which is heated to 86°-95° F., the objects are left until fumes develop around them, which takes place in a few seconds. Now they are put over a coal fire or similar arrange- ment until the alcohol is burned up and there is no more smoke. After they are somewhat cooled off, they are laid into cold water and worked with a brush, then rinsed with water and well dried. The pieces are now provided with a gray me- tallic coating, consisting mainly of anti- mony, manganese, and graphite. This metallic layer renders them capable of re- ceiving a lacquer which is best prepared from 1,000 parts of alcohol (90 per cent), SO parts of sandarac, 100 parts of shellac, and 100 parts of nigrosine (black aniline color). Then the articles are quickly but thoroughly rinsed off, dried in warmed air for a few minutes, and baked in ovens or over a moderate coal fire until they do not smoke any more and no more gloss can be seen. Finally they are rubbed with a cotton rag saturated with thin linseed-oil varnish, and the ob- jects thus treated now appear dull black, like velvet. The covering withstands all action of the weather, so that cooking vessels coated with this varnish on the outside can be placed on the fire without injury to the coating. If the articles are engraved, the aluminum appears almost glossy white under the black layer at the engraved places. When the pieces have been provided with the gray metallic coating, colored lacquer may also be applied with the brush. In this manner paintings, etc., may be done on alu- minum, while not possible on unprepared aluminum surfaces, which will not retain them. Making Castings in Aluminum. — The method adopted in preparing molds and cores for aluminum work is neces- sarily somewhat the same as for brass; biit there are particular points which need attention to insure successful work. Both in the sand and the making of the molds there are some small differences which make considerable variation in the results, and the temperature at which the metal is poured is a consideration of some importance. In selecting the sand, which should 82 ALUMINUM AND ITS TREATME ,NT not have been previously used, that of a fine grain should be chosen, but it should not nave any excess of aluminous matter, or it will not permit of the free escape of gases and air, this being an important matter. Besides this, the sand must be used as dry as possible consistent with its holding against the flow of the metal, and having only moderate compression in ramming. In making the molds it is necessary to remember that aluminum has a large contraction in cooling, and also that at certain temperatures it is very weak and tears readily, while all metals shfink away from the mold when this is wholly outside the casting, but they shrink on to cores or portions of the mold partly inclosed by metal. Thus, if casting a plate or bar of metal, it will shrink away from the mold in all direc- tions; but if casting a square frame, it shrinks away from the outside only, while it shrinks on to the central part or core. With brass, or iron, or such metals, this is not of much importance, but with some others, including alumi- num, it is of great importance, because if the core or inclosed sand will not give somewhat with the contraction of the metal, torn or fractured castings will be the result. Both for outside and inside molds, and with cores used with alu- minum, the sand should be compressed as little as possible, and hard ramming must in every case be avoided, particu- larly where the metal surrounds the sand. The molds must be very freely vented, and not only at the joint of the mold, but by using the vent wire freely through the body of the mold itself; in fact, for brass the venting would be considered excessive. With aluminum it is, how- ever, necessary to get the air off as rapid- ly as possible, because the metal soon gets sluggish in the mold, and unless it runs up quickly it runs faint at the edges. The ingates should be wide and of fair area, but need careful making to prevent their drawing where they enter the cast- ing, the method of doing this being known to most molders. If it is considered desirable to use a specially made-up facing sand for the molds where the metal is of some thick- ness, the use of a little pea or bean meal will be all that is necessary. To use this, first dry as much sand as may be re- quired and pass through a 20-mesh sieve, and to each bushel of the fine sand rub in about 4 quarts of meal, afterwards again passing through the sieve to insure regular mixing. This sand should then be damped as required, being careful that all parts are eqiially moist, rubbing on a board being a /good way to get it tough, and in good condition, with the minimum of moisture. The molds should not be sleeked with tools, but they may be dusted over with plumbago or steatite, smoothing with a camel's-hair brush, in cases in which a very smooth face is required on the castings. Preferably, however, the use of the brush even should be avoided. Patterns for aluminum should be kept smooth and well varnished. In melting the metal it is necessary to use a plumbago crucible which is clean and which has not been used for other metals.- Clay or silica crucibles are not good for this metal, especially silica, on account of the metal absorbing silicon and becoming hard under some condi- tions of melting. A steady fire is neces- sary-, and the fuel should reach only about halfway up the crucible, as it is not desirable to overheat the crucible or metal. The metal absorbs heat for sorne time and then fuses with some ra- Eidity, hence the desirability of a steady eat; and as the metal should be poured when of a claret color under the film of oxide which forms on the surface, too rapid a heating is not advisable. The molding should always be well in ad- vance of the pouring, because the metal should be used as soon as it is ready; for not only is waste caused, but the metal loses condition if kept in a molten state for long periods. The metal should be poured rapidly, but steadily, and when cast up there should not be a large head of metal left on top of the runner. In fact, it is rather a disadvantage to leave a large head, as this tends to draw rather than to feed the casting. With properly prepared molds, and careful melting, fluxes are not required, but ground cryolite — a fluoride of sodium and aluminum — is sometimes used to increase the fluidity of the metal. In using this, a few ounces according to the bulk of metal to be treated is put into the molten metal before it is taken from the furnace, and well stirred in, and as soon as the reaction apparently ceases the pot is lifted and the metal at once skimmed and poured. The use of sodium in any form with aluminum is very undesirable, however, and should be avoided, and the same remark applies to tin, but there is no objection to alloy- ing with zinc, when the metal thus pro- duced is sold as an alloy. Aluminum also casts very well in molds of plaster of Paris and crushed bath brick when such molds are perfectly dry ALUMINUM AND ITS TREATMENT and well vented, smoothness being se- cured by brushing over with dry stea- tite or plumbago. When casting in metal molds, tnese should be well brushed out with stea,tite or plumbago, and made fairly hot before pouring, as in cold molds th^ metal curdles and be- comes sluggish, with the result that the castings run up faint. To Increase the Toughness, Density, and Tenacity of Aluminum. — For the purpose of improving aluminum, with- out increasing its specific gravity, the aluminum is mixed with 4 to 7 per cent of phosphorus, whereby the density, te- nacity, and especially the toughness are said to be enhanced. WORKING OF SHEET ALUMINUM: The great secret, if there is any, in working aluminum, either pure or al- loyed, consists in the proper lubricant and the shape of the tool. Another great disadvantage in the proper working of the metal is that, when a manufac- turer desires to make up an article, he will procure the pure metal in order to make his samples, which, of course, is harder to work than the alloy. But the different grades of aluminum sheet which are on the market are so numerous for different classes of work that it might be advisable to consider them for a mo- ment before passing to the method of working them. The pure metal, to begin with, can be purchased of all degrees of hardness, from the annealed, or what is known as the "dead soft" stock, to the pure alumi- num hard rolled. Then comes a harder grade of alloys, running from "dead soft" metal, which will draw up hard, to the same metal hard rolled; and, still again, another set of alloys which, per- haps, are a little harder still when hard rolled, and will, when starting with the "dead soft," spin up into a utensil which, when finished, will probably be as stiff as brass. These latter alloys are finding a large sale for replacing brass used in all classes of manufactured articles. To start with lathe work on aluminum, Erobably more difficulty has been found ere, especially in working pure metal, and more complaints are heard from this source than from any other. As stated before, however, these difficulties can all be readily overcome, if the proper tools and the proper lubricants are used, as automatic screw machines are now made so that they can be operated when working aluminum just as readily as when tney are working brass, and in some cases more readily. To start with the question of the tool, this should be made as what is known as a "shearing tool," that is, instead of a short, stubby Coint, such as would be used in turning rass, the point should be lengthened out and a lot of clearance provided on the inside of the tool, so as to give the chips of the metal a good chance to free themselves and not cause a clogging around the point of the tool — a simi- lar tool, for instance, to what would be used for turning wood. The best lubricant to be used would be coal oil or water, and plenty of it. The latter is almost as good as coal oil if enough of it is used, and with either of these lubricants and a tool properly made, there should be no difBculty what- soever in the rapid working of aluminum, either on the lathe or on automatic screw machines. To go from the lathe to the drawing press, the same tools here would be used in drawing up shapes of aluminum as are used for drawing up brass or other metals; the only precaution necessary in this instance being to use a proper lubricant, which in this case is a cheap grade of vaseline, or in some cases lard oil, but in the majority of instances better results will be secured by the use of vaseline. Aluminum is probably sus- ceptible of deeper drawing with less occasion to anneal than any of the other commercial metals. It requires but one-third or one-fourth of as much an- nealing as brass or copper. For in- stance, an article which is now manu- factured in brass, requiring, say, three or four operations before the article is fin- ished, would probably have to be an- nealed after every operation. With alumin'um, however, if the proper grade is used, it is generally possible to perform these three operations without annealing the metal at all, and at the same time to produce a finished article which, to all intents and purposes, is as stiff as an article made of sneet brass. Too much stress cannot be laid on the fact of starting with the proper grade of metal, for either through ignorance or by not observing this point is the founda- tion of the majority of the complaints that aluminum "has been tried and found wanting." If, however, it should be found necessary to anneal aluminum, this can be readily accomplished by heating it in an ordinary muffle, being careful that the temperature shall not be too high— about 650° or 700° F. The best test as to when the metal has reached the proper temperature is to take it, soft pine stick and draw it across the 84 ALUMINUM AND ITS TREATMENT/ metal. If it chars the stick and leaves a black mark on the metal, it is suffi- ciently annealed and is in a proper con- dition to proceed with further opera- tion. Next taking up the question of spin- ning aluminum, success again depends particularly on starting with the proper metal. The most satisfactory speed for articles from 5 to 8 inches in diam- eter is about 2,600 revolutions a minute, and for larger or smaller diameters the speed should be so regulated as to give the same velocity at the circumference. Aluminum is a very easy metal to spin and no difficulty should be found at all in spinning the proper grades of sheets. Several factories that are using large quantities of aluminum uov/, both for spinning and stamping, are paying their men by the piece the same amount that they formerly paid on brass and tin work, and it is stated that the men working on this basis make anywhere from 10 to 20 per cent more wages by working alu- minum. After aluminum has been manufac- tured into the shape of an article, the next process is the finishing of it. The best polish can be obtained by first cutting down the metal with an ordinary rag buff on which use tripoli, and then finish it with a dry red rouge which comes in the lump form, or that which is known as "White Diamond Rouge." One point, however, that it is necessary to observe carefully is that both the tripoli and the rouge should be procured ground as fine as it is possible to grind them; for, if this is not done, the metal will have little fine scratches all over it, and will not appear as bright and as handsome as it otner- wise would. If it is desired to put on a frosted ap- pearance, this can either be done by scratch brushing or sand blasting. A brass wire scratch brush, made of crimped wire of No. 32 to No. 36 B. & S. gage, with three or four rows of bris- tles, will probably give the best results. This work of scratch brushing can be somewhat lessened, however, if, before applying the scratch brush to the surface or the aluminum, the article is first cut down by the use of a porpoise-hide wheel and fine Connecticut sand, placing the sand between the surface of the alumi- num and the wheel, so that the skin and the irregularities on the surface are re- moved, and then putting the article on a buffing wheel before attempting to scratch brush it. This method, how- ever, is probably more advantageous in the treating of aluminum castings than for articles manufactured out of the sheet metal, as in the majofity of cases it is simply necessary befor^ scratch brushing to cut down the articlp with tripoli, and then polish it with rofige as already de- scribed, before putting on the scratch brush; in this way the brush seems to take hold quicker and better, and to pro- duce a more uniform polish. An effect similar to the scratch-brush finish can be got by sand blasting, and by first sand blasting and then scratch brushing the sheets, a good finish is ob- tained with very much less labor than by scratch brushing alone. Another very pretty frosted effect is procured by first sand blasting and then treated as here- inafter described by "dipping" and "frosting," and many variations in the finish of aluminum can be got by varying the treatment, either by cutting down with tripoli and polishing, scratch brush- ing, sand blasting, dipping, and frosting, and by combinations of those treatments. A very pretty mottled effect is secured on aluminum by first polishing and then scratch brushing and then nolding the aluminum against a soft pine wheel, run at a high rate of speed on a lathe, and by careful manipulation, quite regular forms of a mottled appearance can be obtained. The dipping and frosting of aluminum sheet is probably the cheapest way of producing a nice finish. First remove all grease and dirt from the article by dipping in benzine, then dip into water in order that the benzine adhering to the article may be removed, so as not to affect the strength of the solution into which it is next dipped. After they have been taken out of the water and well shaken, the articles should be plunged in a strong solution of caustic soda or caus- tic potash, and left there a sufficient length of time until the aluminum starts to turn black. Then they should be removed, dipped in water again, and then into a solution of concentrated nitric and sulphuric acid, composed of 24 parts of nitric acid to 1 part of sulphuric acid. After being removed, the article should be washed thoroughly in water and dried in hot sawdust in the usual way. This finish can also be varied somewhat by making the solution of caustic soda of varying degrees of strength, or by adding a small amount of common salt to the solution. In burnishing the metal use a blood- stone or a steel burnisher. In burnish- ing use a mixture of melted vaseline and coal oil, or a solution composed of 2 tablespoonfuls of ground borax dissolved in about a quart of hot water, with a few AMALGAMS 85 drops of ammonia added. In engrav- ing, which adds materially to the ap- pearance of finished castings, book cov- ers, picture frames, and similar articles made of sheet, probably the best lubri- cant to use on an engraver's tool in order to obtain a clean cut, which is bright, is naphtha or coal oil, or a mixture of coal oil and vaseline. The naphtha, how- ever, is preferred, owing to tlie fact that it does not destroy the satin finish in the neighborhood of the cut, as the other lubricants are very apt to do. There is, however, as much skill required in using and making a tool in order to give a bright, clean cut as there is in the choice of the lubricant to be used. The tool should be made somewhat on the same plan as the lathe tools already outlined. That is, they should be brought to a sharp point and be "cut back" rather far, so as to give plenty of clearance. There ha,s been one class of work in aluminum that has been developed lately and only to a certain extent, in which there are great possibilities, and that is in drop forging the metal. Some very superior bicycle parts have been manufactured by drop forging. This can be accomplished probably more readily with aluminum than with other metals, for the reason that it is not necessary with all the alloys to work them hot; consequently, they can be worked and handled more rapidly. ALUMINtrM, TO CLEAN: See Cleaning Preparations and Meth- ods. ALUMINUM ALLOYS: See Alloys. ALUMINUM BRONZE: See Alloys under Bronzes. ALUMINUM CASTINGS: See Casting. ALUMINUM PAPER : See Paper. ALUMINUM PLATING: See Plating. ALUMINUM POLISHES: See Polishes. Amalgams See also Easily Fusible Alloys under Alloys. The name amalgam is given to al- loys of metals containing mercury. The term comes to us from the alchemists. It signifies softening, because an excess of mercury dissolves a large number of metals. Preparation of Amalgams. — Mercury forms amalgams with most metals. It unites directly and readily, either cold or hot, with potassium, sodium, barium, strontium, calcium, magnesium, zinc, cadmium, tin, antimony, lead, bismuth, silver, and gold; directly, but more dif- . ficultly, with aluminum, copper, and palladium. This combination takes place oftenest at the ordinary temper- ature; certain metals, however, like aluminum and antimony, combine only when heated in presence of quicksilver. Quicksilver has no direct action on metals of high fusing points: manganese, iron, nickel, cobalt, uranium, platinum, and their congeners. Still, amalgams of these metals can be obtained of buty- rous consistency, either by electrolysis of their saline solutions, employing quick- silver as the negative electrode, or by the action of an alkaline amalgam (potas- sium or sodium), on their concentrated and neutral saline solutions. These same refractory metals are also amalga- mated superficially when immersed in the amalgam of sodium or of ammonium in presence of water. Processes for preparing amalgams by double decomposition betweenan alkaline amalgam and a metallic salt, or by elec- trolysis of saline solutions, with employ- ment of mercury as the negative elec- trode, apply a fortiori to metals capable of combining directly with the quick- silver. The latter of these methods is especially utilized for the preparation of alkaline earthy metals by electroWtic decomposition of the solutions of their salts or hydrated oxides with quicksilver as a cathode. General Properties of Amalgams. ^ — Amalgams are liquid when the quick- silver is in great excess; solid, but readily fusible, when the alloyed metal pre- dominates. They have a metallic luster, and a metallic structure which renders them brittle. They even form crystallized metallic combinations of constant propor- tions, dissolved in an excess of quick- silver, when the excess is separated by compression in a chamois skin, or by filtration in a glass funnel of slender stem, terminating with an orifice almost capillary. According as the fusing heat of a metal is less or greater than its combination heat with quicksilver, the amalgamation of this metal produces an elevation or a lowering of temperature. Thus potas- 86 AMALGAMS I sium, sodium, and cadmium, in alloy with quicksilver, disengage heat; while zinc, antimony, tin, bismuth, lead, and silver combine with mercury with ab- sorption of heat. The amalgamation of 162 parts of quicksilver with 21 parts of lead, 12 parts of tin or of antimony, and 28.5 parts of bismuth, lowers the tem- perature of the mixture 79° F. Amalgams formed with disengage- ment of heat are electro-negative with reference to the metals alloyed with the quicksilver. The products with absorp- tion of heat are electro-negative with ref- erence to the metals combined with the quicksilver; consequently, in a battery of elements of pure cadmium and amal- gamated cadmium, the cadmium will be the negative pole; in case of zinc and amalgamated zinc, the zinc will be the positive pole. Heat decomposes all amalgams, va- porizing the mercury and leaving the metal alloys as a residue. Water is decomposed by the amal- gams of potassium and sodium, because the heat of formation of these amalgams, although considerable, is even less than the heat disengaged by potassium and sodium, on decomposing water. The alkaline amalgams may, therefore, serve as a sourqe of nascent hydrogen in pres- ence of water, giving rise/ to an action less energetic, and often more advan- tageous, than that of the alkaline metals alone. Thus is caused the frequent em- ployment of sodium amalgam forhydro- genizing a large number of bodies. As a consequence of their action on water, the alkaline amalgams are changed by moist air, with production of free alkali or alkaline carbonate. Applications of Potassium Amalgams. — I. — They furnish a process for prepar- ing potassium by the decomposition of potash by the electric current, by em- ploying quicksilver as the cathode, and vaporizing the quicksilver of the amal- gam formed by heating this in a current of dry hydrogen. II. — They can serve for the prepara- tion of the amalgams of the metals, other than those of the alkaline group, by de- composing the salts of these metals, with formation of a salt of potash and of the amalgam of the metal corresponding to the original salt. III. — They can be employed as a source of nascent hydrogen in presence of water for hydrogenizing many sub- stances. Applications of Sodium Amalgams. — These are nearly the same as those of the potassium amalgams, but the sodium amalgams are employed almost exclu- sively, because sodiuim is easier to handle than potassium, and is cheaper. These employments are the following: I. — Sodium amalgam furnishes a proc- ess for the preparation of sodium when soda is decomposed by means of the electric current, employing quicksilver as the cathode, and afterwards vaporizing the quicksilver of the amalgam formed by heating this in a current of dry hy- drogen. II. — Amalgams of sodium serve for the preparation of amalgams of the oth- er metals, particularly alkaline earthy metals and metals of high fusing points, by decomposing the salts of these metals, with formation of a salt of soda and of the amalgam of the metal corresponding to the original salt. III. — They serve for amalgamating superficially the metals of high fusing point, called "refractory," such as iron and platinum, when a well-cleaned plate of these metals is immersed in sodium amalgam in presence of water. IV. — An amalgam of 2 or 3 per cent of sodium is employed in the processes ol extraction of gold by amalgamation. It has the property of rendering quick- silver more brilliant, and consequently more energetic, by acting as a deoxidant on the pellicle of oxide formed on its surface in presence of certain ores, which, by keeping it separated from the particles of gold, destroy its activity. Sodium amalgam of 3 per cent is utilized with success for the amalgamated plates employed in crushers and other appa- ratus for treating the ores of gold. If a few drops of this amalgam are spread on a plate of copper, of tin, or of zinc, a brilliant coating of an amalgam of tin, copper, or zinc is immediately formed. v.— Amalgams of from 2 to 8 per cent of sodium serve frequently in laborato- ries for reducing or hydrogenizing or- ganic combinations, without running the risk of a partial destruction of these compounds by too intense action, as may occur by employing free sodium instead of its amalgam. Applications of Barium Amalgams. — These can, by distillation, furnish bari- um. It is one of the processes for pre- paring this metal, which, when thus ob- tained, almost always retains a little sodium. Applications of Strontium Amalgams. — These amalgams, washed and dried rapidly immediately after their prepara- tion, and then heated to a nascent red AMALGAMS 87 in a current of dry hydrogen, yield a fused mass of strontium. Applications of Cadmium Amalgams. — Amalgams of cadmium, formed of equal weights of cadmium and quicksilver, have much power of cohesion and are quite malleable; the case is the same with an amalgam formed of 1 part of cad- mium and 2 parts of quicksilver. They are used as dental cements for plugging teeth; for the same purpose an amalgam of 2 parts of quicksilver, 1 part of cad- mium, and 2 parts of tin may be used. Applications of Zinc Amalgams. — The principal employment of zinc amalgams IS their use as a cathode or negative elec- trode in the batteries of Munson, Dan- iels, and Lechanche. This combination is designed to render the zinc non-attack- able by the exciting liquid of the battery with open circuit. The action of the mercury is to prevent the zinc from form- ing a large number of smalj voltaic ele- ments when foreign bodies are mingled with the metal; in a word, the giving to ordinary zinc the properties of pure zinc, and consequently of causing a great sav- ing in expense. For amalgamating a, zinc plate it is plunged for a few seconds into water in which there is one-sixteenth in volume of sulphuric acid, then rubbing with a copper-wire brush which has been dipped in the quicksilver. The mercury takes more readily on the zinc when, after the zinc has been cleaned with water sharpened with sulphuric acid, it is moistened with a solution of corro- sive sublimate, which is reduced and furnishes a first very thin coat of amal- gam, on which tSe quicksilver is im- mediately fixed by simple immersion without rubbing. The zinc of a battery may be amalga- mated by putting at the bottom of the compartment containing each element, a little quicksilver in su(3i a way that the zinc touches the liquid. The amalga- mation is effected under the influence of the current, but this process applies only on condition that the zinc alone touches the bottom of the vessel containing the quicksilver. Applications of Manganese Amalgams. — These may serve for the preparation of manganese. For this purpose it is sufficient to distill in a current of pure Lydrogen. The manganese remains in the form of a grayish powder. Applications of Tin Amalgams.— I.— Tinning of glass. This operation is aecomplishe.d in the following manner: On a cast-iron table, quite horizontal, a sheet of tin of the dimensions of the glass is spread out arid covered with a layer of quicksilver, 5 or 6 millimeters in thick- ness. The glass is made to slide on the sheet of tin in such a way as to drive off the excess of quicksilver; when the two surfaces are covered without interposi- tion of air, weights are placed on the glass. In a few days, the glass may be removed, having been covered with an adhering pellicle of amalgam of 4 parts of tin and 1 part of quicksilver. (See also Mirrors.) II. — An amalgam consisting of 2 parts of zinc and 1 part tin may be used for covering the cushions of frictional elec- tric machines. This amalgam is pre- pared by first melting the zinc and tin in a crucible and adding the quicksilver previously heated. III. — Mention has been made of the cadmium amalgam employed for plug- ging teeth, an amalgam of 2 parts of quicksilver, 2 parts of tin, and 1 part of cadmium. For the same purpose an amalgam of tin, silver, and gold is em- ployed. (See also Cements, Dental.) Applications of Copper Amalgams. — I. — An amalgam of 30 per cent of copper has been employed for filling teeth. This use has been abandoned on account of the inconvenience occasioned by the great changeableness of the product. II. — The amalgam of 30 per cent of copper, designated by the name of "me- tallic mastic," is an excellent cement for repairing objects and utensils of porce- lain. For this employment, the broken surfaces are heated to 662° F., and a little of the amalgam, previously heated to the consistency of melted wax, is applied. III. — Copper amalgam, of 30 to 45 per cent of copper, rendered plastic by heating and grinding, may serve for ob- taining with slight compression copies of delicate objects, which may, after hard- ening of the amalgam, be reproduced, either in wax or by galvanic process. IV. — According to Debray, when a medal, obtained with an amalgam of 45 per cent of copper, by compression in the soft state, in molds of gutta percha, is heated progressively to redness in an atmosphere of hydrogen, the quicksilver is volatilized gradually, and the particles of copper come together without fusion in such a way as to produce a faithful reproduction, formed exclusively of me- tallic copper, of the original medal. V. — In the metallurgy of gold the crushers are furnished with amalga- mated ^ates of copper for retaining the gold. The preparation of these plateS, 88 AMALGAMS which are at least 0.128 inches in thick- ness, is delicate, requiring about two weeks. They are freed from greasy mat- ter by rubbing with ashes, or, better, with a little sand and caustic soda, or if more rapid action is desired, with a cloth dipped in dilute nitric acid; they are washed with water, then with a solution of potassium cyanide, and finally? brushed with a mixture of sal ammoniac and a little quicksilver, until the surface is completely amalgamated. They are finally made to absorb as much quick- silver as possible. But the plates thus treated are useful for only a few days when they are sufficiently covered with a layer of gold amalgam; in the meantime they occasion loss of time and of gold. So it is preferable to cover them arti- ficially with a little gold amalgam, which is prepared by dissolving gold in quick- silver. Sometimes the amalgam of gold is replaced by an amalgam of silver, which is readily poured and more eco- nomical. Another method giving better results consists in silvering copper slabs by elec- troplating and covering them with a layer of silver. Then it is only necessary to apply a little quicksilver, which adheres quite rapidly, so that they are ready for use almost immediately, and are quite active at the outset. These amalgamation slabs ought to be cleaned before each operation. Po- tassium cyanide removes fatty matter, and sal ammoniac the oxides of the low metals. .Applications of Lead Amalgams. — These meet with an interesting employ- ment for the autogenous soldering of lead. After the surfaces to be soldered have been well cleaned, a layer of lead amalgam is applied. It is afterwards sufiicient to pass along the line of junc- tion a soldering iron heated to redness, in order that the heat should cause the volatilization of the quicksilver, and that the lead, liberated in a state of fine divi- sion, should be melted and cause the adherence of the two surfaces. The only precaution necessary is to avoid breathing the mercurial vapor, which is quite poisonous. Applications of Bismuth Amalgams. — The amalgam formed of 1 per cent of bismuth and 4 parts of quicksilver will cause the strong adherence of glass. It is employed with advantage in the tin- ning of glass globes. For this operation it is poured into a dry hot receiver, and then passed over the whole surface of the glass; it solidifies on cooling. For the purpose of economizing the bismuth, the price of which is high, the preceding amalgam is replaced by another com- Eosed of 2 parts of quicksilver, 1 part of ismuth, 1 part of lead, and 1 part of tin. The bismuth, broken into small frag- ments, is added to the tin and lead, pre- viously melted in the crucible, and wnen the mixture of the three metals becomes fluid, the quicksilver is poured in, while stirring with an iron rod. The impuri- ties floating on the surface are removed, and when the temperature is sufficiently lowered this amalgam is slowly poured into the vessels to be tinned, which have been previously well cleaned and slightly heated. M. Ditte recommends for the same employment, as a very strong ad- herent to the glass, an amalgam obtained by dissolving hot 2 parts of bismuth and 1 part of lead in a solution of 1 part of tin in 10 parts of quicksilver. By caus- ing a quantity of tnis amalgam to move around the. inside of a receiver, clean, dry, and slightly heated, the surface will be covered with a thin, brilliant layer, which hardens q^uite rapidly. For the injection of anatomical pieces an amalgam formed of 10 parts of quick- silver, 50 parts of bismutn, 31 parts of lead, and 18 parts of tin, fusible at 77.5° and solidifiable at 60° C, is made use of; or, again, an amalgam composed of 9 parts of Darcet alloy and 1 part of quick- silver fusible at 127J° F., and pasty at a still lower temperature. This last amal- gam may also be used for filling carious teeth. The Darcet alloy, as known, con- tains 2 parts of bismuth, 1 part of lead, and 1 part of tin, and melts at 199i° F. The addition of 1 part of quicksilver lowers the fusing point to 104° F. Applications of Silver Amalgams. — I. — In tne silvering of mirrors by the Petit- jean method, which has almost univer- sally replaced tinning, the property of silver in readily amalgamating is taken advantage of, by substituting the glass after silvering to the action of a dilute solution of double cyanide of mercury and potassium in such a manner as to form an amalgam of white and brilliant silver adhering strongly to the glass. To facilitate the operation and utilize all the silver, while economizing the double cya- nide, M. Lenoir has recommended the following: Sprinkle the glass at the time when it is covered with the mercurial solution with very fine zinc powder, which precipitates the quicksilver and regulates the amalgamation. II- — The metallurgy of silver also takes advantage of the property of this AMALGAMS 89 metal in combining cold with quicksil- ver; this for the treatment of poor silver ores. In the Saxon or Freiburg process for treating silver ores, recourse is had to quicksilver in the case of amalgam in amalgamating casks, in which the ore, after grinding, is shaken with disks of iron, and with mercury and water. The amalgam, collected and filtered under strong pressure, contains from 30 to 33 per cent of silver. It is distilled either m cylindrical retorts of cast iron, fur- nished with an exit tube immersed in the water for condensing the mercurial vapors, or on plates of iron, arranged over each other along a vertical iron stem, supported by a tripod at the bot- tom of a tank filled with water, and covered with an iron receiver, which is itself surrounded *ith ignited charcoal. It should be remarked that the last por- tions of quicksilver in a silver amalgam submitted to distillation are voiatihzed only under the action of a high and pro- longed temperature. Applications of Gold Amalgams. — I. — Gilding with quicksilver. This process of gilding, much employed formerly, is now but little used. It can be applied only to metals slightly fusible and capa- ble of amalgamation, like silver, copper, bronze, and brass. Iron can also be gilded by this method, provided it is previously covered with a coating of copper. To perform this gilding the surface is well cleaned, and the gold amalgam, consisting of 2 parts of gold and 1 part of quicksilver, prepared as mentioned before, is applied. The piece is afterwards heated to about the red, so as to volatilize the mercury. The gold remains, superficially alloyed with the metal, and forms an extremely solid layer of deadened gold, which can be afterwards polished. The volatilization should be effected under a chimney hav- ing strong draught, in order to avoid the poisonous action of the mercurial vapors. II. — The amalgamation of gold finds its principal applications in the treatment of auriferous ores. The extraction of small spangles of gold scattered in gold- bearing sands is based on the ready dissolution of gold in quicksilver, and on the formation of an amalgam of solid gold by compression and filtering through a chamois sKin, in a state more or less liquid. The spangles of gold are shaken with about their weight of quicksilver, collected in the cavities of sluices and mixed with a small quantity of sand. The gold is dissolved and the sand re- mains. The amalgam thus obtained is compressed in a chamois skin, so as to separate the excess of mercury which passes through the pores of the skin; or, yet again, it is filtered through a glass funnel having a very slender stem, with almost capillary termination. In both cases an amalgam of solid gold remains, which is submitted to the action of heat in a crucible or cast-iron retort, com- municating with a bent-iron tube, of which the extremity, surrounded with a cloth immersed in water, is arranged above a receiver half full of water. The (juicksilver is vaporized and condensed in the water. The gold remains in the retort. The property of gold of combining readily with quicksilver is also used in many kinds of amalgamating apparatus for extraction and in the metallurgy of gold. In various operations it is essential to keep the quicksilver active by preserv- ing its limpidity. For this purpose potassium cyanide and ammonium chloride are especially employed; some- times wood ashes, carbonate of soda, hyposulphite of soda, nitrate of potash, cupric sulphate, sea salt, and lime; the latter for precipitating the soluble sul- phates proceeding from the decomposi- tion of pyrites. The amalgamation of gold is favored by a temperature of 38° to 45° C. (100° to 113° F.), and still more by the em- ployment of quicksilver in the nascent state. This last property is the base of the Designol process, which consists in treating auriferous or auro-argentiferous ores, first ground with sea salt, in revolv- ing cylinders of cast iron, with iron and mercury bichloride, in such a way that the mercury precipitated collects the gold and eventually the silver more effica- ciously. Gold Amalgam. — Eight parts of gold and 1 of mercury are formed into an amalgam for plating by rendering the gold into thin plates, making it red hot, and then putting it into the mercury while the latter is also heated to ebullition. The gold immediately disappears in combination with the mercury, after which the mixture may be turned into water to cool. It is then ready for use. Zinc Amalgam for Electric Batteries. — Dissolve 2 parts of mercury in 1 part of aqua regia. This accomplished, add 5 parts of hydrochloric acid. This solu- tion is made warm. It suffices to dip the zinc to be amalgamated into this liquid only for a few seconds. 90 AMALGAMS— AMBER Amalgam for Cem.enting Glass, Por- celain, Etc. — Take tin 2 parts, and cad- mium 1 part. Fuse in an iron spoon or some vessel of the same material. When the two materials are in fusion add a little mercury, previously heated. Place all in an iron crucible and boil, agitating the mass with a pestle. This amalgam is soft and can be kneaded between the fingers. It may be employed for luting glass or porcelain vessels, as well as for filling teeth. It hardens in a short while. Amalgam for Silvering Glass Balls. — Lead, 25 parts; tin, 25 parts; bismuth, 25 parts; mercury, 25 parts; or, lead, 20 parts; tin, 20 parts; bismuth, 20 parts; mercury, 40 parts. Melt the lead and the tin, then add the bismuth; skim sev- eral times and add the mercury, stirring the composition vigorously. (See also Mirror-Silvering). Copper Amalgam.— Copper amalgam, or so-called Viennese metal cement, crys- tallizes with the greatest readiness and acquires such hardness on solidifying that it can be polished like gold. The amalgam may also be worked under the hammer or between rollers; it can also be stamped, and retains its metallic luster for a long time in the air. In air con- taining hydrogen sulphide, however, it quickly tarnishes and turns black. A very special property of copper amalgam consists in that it becomes very soft when laid in water, and attains such pliancy that it can be employed for modeling the most delicate objects. After a few hours the amalgam congeals again into a very fine-grained, rather malleable mass. An important application of copper amalgam is that for cementing metals. All that is necessary for this purpose is to heat the metals, which must be bright, to 80-90° C. (176-194° F.), to apply the amalgam and to press the metal pieces together. They will cohere as firmly as though soldered together. Copper amalgam may be prepared in the following manner: Place strips of zinc in a solution of blue vitriol and agitate the solution thor- oughly. The copper thus obtained in the form of a very fine powder is washed and, while still moist, treated in a mor- tar with a solution of mercury nitrate. The copper powder thereby amalga- mates more readily with the quicksilver. Next, hot water is poured over the cop- per, the mortar is kept hot, and the mer- cury added. Knead with the pestle of the mortar until the copper, pulverulent in the beginning, has united with the mercury into a very plastic mass. The longer the kneading is continued the more uniform will be the mass. As soon as the amalgam has acquired the suitable character — for its production 3 parts of copper and 7 parts of mercury are used — the water is poured off and the amal- gam still soft is given the shape in which it is to be kept. For cementing purposes, the amalgam is rolled out into small cylinders, whose diameter is about 0.16 to 0.2 inches, with a length of a few inches. In order to produce with this amalgam impressions of castings, which are made after wood- cuts, the amalgam is rolled out hot into a thin plate and pressed firmly onto the likewise heated plaster cast. After the amalgam has hardened the thin plate of it may be reinforced by pouring on molten type metal. Silver Amalgam. — Silver amalgam can easily be made with the help of finely powdered silver. The mercury need only be heated to 250° to 300° C. (482° to 572° F.); silver powder is then sprin- kled on it, and mixed with it by stirring. The vessel is heated for several minutes and then allowed to cool, the excess of mercury being removed from the granu- lated crystalline amalgam by pressing in a leather bag. Silver amalgam can also easily be made by dissolving silver in nitric acid, evaporating the solution till the excess of free acid is eliminated, di- luting with distilled water, and adding mercury to the fluid in the proportion of 4 parts, hy weight, of mercury to 1 of the silver originally used. The mercury precipitates the silver in a metallic state, and immediately forms an amalgam with it; the fluid standing above after a time contains no more sflver, but consists of a solution of mercury nitrate mixed with whatever copper was contained in the dissolved silver in the form of copper nitrate. The absence of a white pre- cipitate, if a few drops of hydrochloric acid are added to a sample of the fluid in a test tube, shows that all the silver has been eliminated from the solution and is present in the form of amalgam. Amalgam for the Rubber of Electric Machines.— Mercury, 100 parts; zinc, 60 parts; tin, 50 parts. Tnis amalgam reduced to powder and incorporated with grease can be applied to the rubber of electric machines. AMALGAM GOLD PLATING: See Gilding under Plating. AMBER : Imitatjon Amber.— Melt carefully to- gether pine rosin, 1; lacca in tabulis, 2; white colophony, 16 parts. AMBER CEMENT— ANILINE STAINS 91 AMBER CEMENT: See Adhesives under Cements. AMBER VARNISH: See Varnishes. AMBROSIA POWDER: See Salts (Effervescent). AMIDOL DEVELOPER: See Photography. AMETHYST (IMITATION): See Gems, Artificial. AMMON-CARBONITE : See Explosives. Ammonia Household Ammonia. — (See also House- hold Formulas.) — Household ammonia is simply diluted ammonia water to which borax and soap have been added. To make it cloudy add potassium nitrate or methylated spirit. The following are good formulas: I. — Ammonia water .... 16 parts Yellow soap 64 parts Potassium nitrate. . . 1 part Soft water, sufficient to make 200 parts Shave up the soap and dissolve it in the water by heating, add the potassium nitrate and dissolve. Cool, strain, skim off any suds or bubbles, add the am- monia, mix, and bottle at once. II. — Yellow soap 10 grains Borax 1 drachm Lavender water. ... 20 minims Stronger ammonia water 6 ounces Water, enough to make 20 ounces Dissolve the soap and borax in 5 ounces of boiling water; when cold add the lavender water and ammonia, and make up to a pint with water. III. — Methylated spirit. . . 1 gallon Soft water 1 gallon Stronger ammonia water 1 gallon IV. — Ammonia water. ... S pints Distilled water 5 pints Soap .■ 100 grains Olive oil 5 drachms Cut the soap in shavings, boil with the oil and water, cool, add the ammonia water, and bottle. For use in laundries, baths, and for general household pur- poses add one tablespoonful to one gallon of water. V. — The best quality: Alcohol, 94 per cent . . 4 ounces Soft water 4 gallons Oil of rosemary 4 drachms Oil of citronella 3 drachms Dissolve the oils in the alcohol and add to the water. To the mixture add 4 ounces of talc (or fuller's earth will answer), mix thoroughly, strain through canvas, and to the colate add 1, 2, or 3 gallons of ammonia water, according to the strength desired, in which has been dissolved 1, 2, or 3 ounces of white curd, or soft soap. Liquor Ammonii Anisatus. — Oil of anise, by weight 1 part Alcohol, by weight 24 parts Water of ammonia, by weight. . 5 parts Dissolve the oil in the alcohol and add the water of ammonia. It should be a clear, yellowish liquid. Violet Color for Ammonia. — A purple- blue color may be given to ammonia water by adding an aqueous solution of litmus. The shade, when pale enough, will probably meet all views as to a violet color. Perfumed Ammonia Water. — The following are typical formulas: I. — Stronger water of am- monia 6 ounces Lavender water 1 ounce Soft soap 10 grains Water, enough to make 16 ounces II. — Soft soap 1 ounce Borax 2 drachms Cologne water § ounce Stronger water of am- monia SJ ounces Water, enough to make 12 ounces Rub up the soap and borax with water until dissolved, strain and add the other ingredients. The perfumes may be varied to suit the price. AMMONIA FOR FIXING PRINTS: See Photography. ANGOSTURA BITTERS: See Wines and Liquors. ANILINE : See Dyes. ANILINE IN PIGMENTS, TESTS FOR: See Pigments. ANILINE STAINS, TO REMOVE: See Cleaning Preparations and Meth- ods, 92 ANTIDOTES FOR POISONS ANISE CORDIAL: See Wines and Liquors. ANKARA: See Butter. ANNEALING OF STEEL, TOOLS, WIRE, AND SPMNGS : See Steel. ANODYNES : See Pain Killers. ANT DESTROYERS: See Insecticides. Antidotes for Poisons POISON, SYMPTOMS AND ANTI- DOTES. When a person has taken poison the first thing to do is to compel the patient to vomit, and for that purpose give any emetic that can be most readily and quickly obtained, and which is prompt and energetic, but safe in its action. For this purpose there is, perhaps, nothing better than a large teaspoonful of ground mustard in a tumblerful of warm waier, and it has the advantage of being almost always at hand. If the dry mustard is not to be had use mixed mustard from the mustard pot. Its operation may generally be facilitated by the addition of a like quantity of common table salt. If the mustard is not at hand, give two or three teaspoon- fuls of powdered alum in syrup or molasses, and give freely of warm water to drink; or give 10 to 20 grains of sul- phate of zinc (white vitriol), or 20 to 30 grains of ipecac, with 1 or 2 grains of tartar emetic, in a large cup of warm water, and repeat every ten minutes until three or four doses are given, unless free vomiting is sooner produced. After vomiting has taken place large draughts of warm water should be given, so that the vomiting will continue until the poisonous substances have been thor- oughly evacuated, and then suitable anti- dotes should be given. If vomiting can- not be produced the stomach pump should be used. When it is known what particular kind of poison has been swal- lowed, then the proper antidote for that poison should be given; but when this cannot be ascertained, as is often the case, give freely of equal parts of cal- cined magnesia, pulverized charcoal, and sesquioxide of iron, in a sufficient quantity of water. This is a very harm- less mixture and is likely to be of great benefit, as the ingredients, though very simple, are antidotes for the most com- mon and active poisons. In case this mixture cannot be obtained, the stomach should be soothed and protected by the free administration of demulcent, muci- laginous, or oleaginous drinks, such as the whites of eggs, milk, mucilage of gum arable, or slippery-elm bark, flaxseed tea, starch, wheat flour, or arrowroot mixed in water, linseed or olive oil, or melted butter or lard. Subsequently the bowels should be moved by some gentle laxative, as a tablespoonful or two of castor oil, or a teaspoonful of cal- cined magnesia; and pain or other evi- dence of inflammation must be relieved by the administration of a few drops of laudanum, and the repeated application of hot poultices, fomentations, and mus- tard plasters. The following are the names of the substances that may give rise to poison- ing, most commonly used, and their anti- dotes: Mineral Acids — Sulphuric Acid (Oil of Vitriol), Nitric Acid (Aqua Fortis), Muriatic Acid (Spirits of Salts). — Symp- toms: Acid, burning taste in the mouth, acute pain in the throat, stomach, and bowels; frequent vomiting, generally bloody; mouth and lips excoriated, shriveled, white or yellow; hiccough, copious stools, more or less bloody, with great tenderness in the abdomen; diffi- cult breathing, irregular pulse, excessive thirst, while drink increases the pain and rarely remains in the stomach; fre- quent but vain efforts to urinate; cold sweats, altered countenance; convul- sions, generally preceding death. Nitric acid causes yellow stains; sulphuric acid, black ones. Treatment: Mix calcined magnesia in milk or water to the consistence of cream, and give freely to drink a glassful every couple of minutes, if it can be swallowed. Common soap (hard or soft), chalk, whiting, or even mortar from the wall mixed in water may be given, until magnesia can be ob- tained. Promote vomiting by tickling the throat, if necessary, and when the poison is got rid of, flaxseed or slippery- eim tea, gruel, or other mild drinks. The inflammation which always follows needs good treatment to save the pa- tient's life. Vegetable Acids— Acetic, Citric, Ox- alic, Tartaric. — Symptoms : Intense burning pain of mouth, throat, and stomach; vomiting blood which is highly acid, violent purging, collapse, stupor, death. Oxalic acid is frequently taken in ANTIDOTES FOR POISONS 93 mistake for Epsom salts, to which in shops it often bears a strong resemblance. Treatment: Give chalk or magnesia in a large quantity of water, or large draughts of Bmewater. If these are not at hand, scrape the wall or ceiling, and give the scrapings mixed with water. Prussic or Hydrocyanic Acid — Laurel Water, Cyanide of Potassium, Bitter Almond Oil, Etc. — Symptoms: In large doses almost invariably instantaneously fatal; when not immediately fatal, sud- den loss of sense and control of the vol- untary muscles. The odor of the poison generally noticeable on the breath. Treatment: Chlorine, in the form of chlorine water, in doses of from 1 to 4 fluidrachms, diluted. Weak solution of chloride lime of soda; water of am- monia (spirits of hartshorn), largely diluted, may be given, and the vapor of it cautiously inhaled. Cold affusion, and chloroform in half to teaspoonful doses in glycerine or mucilage, repeated every few minutes, until the symptoms are' ameliorated. Artificial respiration. Aconite — Monkshood, Wolfsbane.— Symptoms: Numbness and tingling in the mouth and throat, and afterwards in other portions of the body, with sore throat, pain over the stomach, and vom- iting; dimness of vision, dizziness, great prostration, loss of sensibility, and de- lirium. Treatment: An emetic and then brandy in tablespoonful doses, in ice water, every half hour ; spirits of ammonia in half- teaspoonful doses in like manner; the cold douche over the head and chest, warmth to the extrem- ities, etc. Alkalis and Their Salts — Concen- trated Lye, Wood-ash Lye, Caustic Pot- ash, Ammonia, Hartshorn. — Symptoms: Caustic, acrid taste, excessive heat in the throat, stomach, and intestines; vomiting of bloody matter, cold sweats, hiccough, purging of bloody stools. Treatment: The common vegetable acids. Common vinegar, being always at hand, is most frequently used. The fixed oils, as castor, flaxseed, almond, and olive oils form soaps with the alka- lis and thus also destroy their caustic effect. They should be given in large quantity. Antimony and Its Preparations— Tar- tar Emetic, Antimonial Wina, Kerme's Mineral. — Symptoms : Faintness and nausea, soon followed by painful and continued vomiting, severe diarrhea, constriction and burning sensation in the throat, cramps, or spasmodic twitch- ings, with symptoms of nervous derange- ment, and great prostration of strength, often terminating in death. Treatment: If vomiting has not been produced, it should be effected by tickling the fauces, and administering copious draughts of warm water. Astringent infusions, such as of gall, oak bark, Peruvian bark, act as antidotes, and should be given prompt- ly. Powdered yellow bark may be used until the infusion is prepared, or very strong green tea shoiud oe given. To stop the vomiting, should it continue, blister over the stomach by applying a cloth wet with strong spirits of hartshorn, and then sprinkle on one-eighth to one- fourth of a grain of morphia. Arsenic and Its Preparations — Rats- bane, Fowler's Solution, Etc. — Symp- toms: Generally within an hour pain and heat are felt in the stomach, soon followed by vomiting, with a burning dryness of the throat and great thirst; the matters vomited are generally colored either green yellow, or brown, and are sometimes bloody. Diarrhea or dys- entery ensues, while the pulse becomes small and rapid, yet irregular. Breath- ing much oppressed; difficulty in vom- iting may occur, while cramps, convul- sions, or even paralysis often precede death, which sometimes takes place with- in five or six hours after arsenic has been taken. Treatment : Give a prompt emetic, and then hydrate of peroxide of iron (recently prepared) in tablespoon- ful doses every 10 or 15 minutes until the urgent symptoms are relieved. In the" absence of this, or while it is being pre- pared, give large draughts of new milk and raw eggs, limewater and oil, melted butter, magnesia in a large quantity of water, or even if nothing ^se is at hand, flour and water, always, however, giv- ing an emetic the first thing, or causing vomiting by tickling the throat with a feather, etc. The inflammation of the stomach which follows must be treated by blisters, hot fomentations, muci- laginous drinks, and the like. Belladoimaj or Deadly Nightshade. — Symptoms: Dryness of the mouth and throat, great thirst, difficulty of swal- lowing, nausea, dimness, confusion or loss of vision, great enlargement of the pupils, dizziness, delirium, and coma. Treatment: There is no known anti- dote. Give a prompt emetic and then reliance must be placed on continual stimulation with brandy, whisky^ etc., and to necessary artificial respiration. Opium and its preparations, as morphia, laudanum, etc., are thought by some to 94 ANTIDOTES FOR POISONS counteract the effect of belladonna, and may be given in small and repeated doses, as also strong black coffee and green tea. Blue Vitriol, or Blue Stone. — See Cop- per. Cantharides (Spanish or Blistering Fly) and Modern Potato Bug. — Symp- toms: Sickening odor of tne breatn, sour taste, with burning heat in the throat, stomach, and bowels; frequent vomiting, often bloody; copious bloody stools, great pain in the stomach, with burning sensation in the bladder and difficulty to urinate followed with ter- rible convulsions, delirium, and death. Treatment: Excite vomiting by drinking plentifully of sweet oil or other whole- some oils, sugar and water, milk, or slippery-elm tea; give injections of castor oil and starch, or warm milk. The in- flammatory symptoms which generally follow must be treated by a physician. Camphorated oil or camphorated spirits should be rubbed over the bowels, stom- ach, and thighs. Caustic Potash. — See Alkalis under this title. Cobalt, or Fly Powder. — Symptoms: Heat and pain in the throat and stomach, violent retching and vomiting, cold and clammy skin, small and feeble pulse, hurried and difficult breathing, diar- rhea, etc. Treatment: An emetic, fol- lowed by the free administration of milk, eggs, wheat flour and water, and muci- laginous drinks. Copper — Blue Vitriol, Verdigris or Pickles or Food Cooked in Copper Ves- sels. — Symptoms: General inflamma- tion of the alimentary canal, suppres- sion of urine; hiccough, a disagreeable metallic taste, vomiting, violent colic, excessive thirst, sense of tightness of the throat, anxiety; faintness, giddiness, and cramps and convulsions generally precede death. Treatment : Large doses of simple syrup as warm as can be swallowed, until the stomach rejects the amount it contains. The whites of eggs and large quantities of milk. Hydrated peroxide of iron. Creosote — Carbolic Acid. — Symptoms: Burning pain, acrid, pungent taste, thirst, vomiting, purging, etc. Treat- ment: An emetic and the free adminis- tration of albumen, as the whites of eggs, or, in the absence of these, milk, or flour and water. Corrosive Sublimate. — See Mercury under this title. Deadly Nightshade. — See Belladonna under this title. Foxglove, or Digitalis. — Symptoms: Loss of strength, feeble, fluttering pulse, faintness, nausea and vomiting and stu- por ; cold perspiration, dilated pupils, sighing, irregular breathing, and some- times convulsions. Treatment: After vomiting, give brandy and ammonia in frequently repeated doses, apply warmth to the extremities, and if necessary resort to artificial respiration. Gases — Carbonic Acid, Chlorine, Cy- anogen, Hydrosulphuric Acid, Etc. — Symptoms: Great drowsiness, difficult respiration, features swollen, face blue as in strangulation. Treatment: Arti- ficial respiration, cold douche, friction with stimulating substances to the sur- face of the body. Inhalation of steam containing preparations of ammonia. Cupping from nape of neck. Internal use of chloroform. Hellebore, or Indian Poke.— Symp- toms: Violent vomiting and purging, bloody stools, great anxiety, tremors, vertigo, fainting, sinking of the pulse, cold sweats, and convulsions. Treat- ment: Excite speedy vomiting by large draughts of warm water, molasses and water, tickling the throat with the finger or a feather, and emetics; give oily and mucilaginous drinks, oily purgatives, and clysters, acids, strong coffee, cam- phor, and opium. Hemlock (Conium).— Symptoms: Dry- ness of the throat, tremors, dizziness, difficulty of swallowing, prostration, and faintness, limbs powerless or paralyzed, pupils dilated, pulse rapid and feeble; insensibility and convulsions sometimes precede death. Treatment: Empty the stomach and give brandy in tablespoon- ful doses, with half teaspoonful of spirits of ammonia,, frequently repeated, and if much pain and vomiting, give bro- mide of ammonium in 5-grain doses every half hour. Artificial respiration may be required. Henbane, or Hj[oscyamus. — Symp- toms: Muscular twitching, inability to articulate plainly, dimness of vision and stupor; _ later, vomiting and purging, small intermittent pulse, convulsive movement of the extremities, and coma. Treatment: Similar to opium poison- ing, which see. Iodine.— Symptoms: Burning pain in throat, lacerating pain in the stomach, fruitless effort to vomit, excessive ten- derness of the epigastrium. Treatment: ANTIDOTES FOR POISONS 95 Free emesis, prompt administration of starch, wheat flour, or arrowroot, beaten up in water. Lead — Acetate of Lead, Sugar of Lead, Dry White Lead, Red Lead, Litharge, or Pickles, Wine, or Vineear Sweetened by Lead. — Symptoms: When taken in large doses, a sweet but astringent metallic taste exists, with constriction in the throat, pain in the region of the stomach, painful, obstinate, and frequently bloody vomitings, hiccough, convulsions or spasms, and death. When taken in small but lone-continued doses it pro- duces colic, called painters' colic; great pain, obstinate constipation, and in ex- treme cases paralytic symptoms, es- pecially wrist-drop, with a blue line along the edge of the gums. Treatment: To counteract the poison give alum in water IJ ounce to a quart; or, better still, Ep- som salts or Glauber's salts, an ounce of either in a quart of water; or dilute sul- phuric acid, a teaspoonful to a quart of water. If a large quantity of sugar of lead has been recently taken, empty the stomach by an emetic of sulphate of zinc (1 drachm in a qunrf: of water), giving one-fourth to commence, and repeating smaller doses until free vomiting is pro- duced; castor oil should be given to clear the bowels and injections of oil and starch freely administered. If the body is cold use the warm bath. Meadow Saffron. — See Belladonna. Laudanum. — See Opium. Lobelia — Indian Poke. — Symptoms : Excessive vomiting and purging, pains in the bowels, contraction of the pupils, delirium, coma, and convulsions. Treat- ment: Mustard over the stomach, and brandy and ammonia. Mercury — Corrosive Sublimate (bug poisons frequently contain this poison), Red Precipitate, Chinese or English Vermilion. — Symptoms: Acrid, metallic ' ' ' ' taste in the mouth, immediate constric- tion and burning in the throat, with anx- iety and tearing pains in both stomach and bowels, sickness, and vomiting of various-colored fluids, and sometimes bloody and profuse diarrhea, with dif- ficulty and pain in urinating; pulse quick, small, and hard; faint sensations, great debility, diflicult breathing, cramps, cold sweats, syncope, and convulsions. Treatment: If vomiting does not al- ready exist, emetics must be given im- mediately — white of eggs in continuous large doses, and infusion of catechu after- wards, sweet milk, mixtures of flour and water in successive cupfuls, and to check excessive salivation put a half ounce of chlorate of potash in a tumbler of water, and use freely as a gargle, and swallow a tablespoonful every hour or two. Morphine. ^ — See Opium. Nitrate of Silver (Lunar Caustic). — Symptoms: Intense pain and vomiting, and purging of blood, mucus, and shreds of mucous membranes; and if these stand they become dark. Treatment: Give freely of a solution of common salt in water, which decomposes the poison, and afterwards flaxseed or slippery-elm- bark tea, and after a while a dose of castor oil. Opium and All Its Compounds — Morphine, Laudanum, Paregoric, Etc. — Symi)toms: Giddiness, drowsiness, in- creasing to stupor, and insensibility; pulse usually, at first, quick and ir- regular, and breathing hurried, and afterwards pulse slow and feeble, and respiration slow and noisy; the pupils are contracted and the eyes and face con- gested, and later, as death approaches, the extremities become cold, the surface is covered with cold, clammy perspira- tion, and the sphincters relax. The ef- fects of opium and its preparations, in poisonous doses, appear in from a half to two hours from its administration. Treatment: Empty the stomach imme- diately with an emetic or with the stom- ach pump. Then give very strong coffee without milk; put mustard plasters on the wrists and ankles; douche the heaji and chest with cold water, and if the patient is cold and sinking, give brandy, or whisky and ammonia. Belladonna is thought by many to counteract the poi- sonous effects of opium, and may be given in doses of half to a teaspoonful of the tincture, or 2 grains of the extract, every 20 minutes, until some effect is observed in causing the pupils to ex- pand. Use warmth and friction, and if possible prevent sleep for some hours, for which purpose the patient should be walked about between two persons. Finally, as a last resort, use artificial respiration, persistence in which will some- times be rewarded with success in ap- parently hopeless cases. Electricity should also be tried. Cooley advises as follows: Vomiting must be induced as soon as possible, by means of a strong emetic and tickling the fauces. If this does not succeed, the stomach pump should be applied. The emetic may consist of a half drachm of sulphate of zinc dissolved in a half pint of warm water, of which one-third should 96 ANTIDOTES FOR POISONS be taken at once, and the remainder at the rate of a wineglassful every 6 or 10 minutes, until vomiting commences. When there is much drowsiness or stupor 1 or 2 fluidrachms of tincture of capsi- cum will be found a useful addition; or one of the formulas for emetic draughts may be taken instead. Infusion of galls, cinchona, or oak bark should be freely administered before the emetic, and water soured with vinegar and lemon juice, after the stomach has been well cleared . out. To rouse , the system spirit and water or strong coffee may be given. To keep the sufferer awake, rough friction should be applied to the skin, an upright posture preserved, and walking exercise enforced, if necessary. When this is ineffectual cold water may be dashed over the chest, head, and spine, or mild shocks of electricity may be had recourse to. To allow the suffer- er to sleep is to abandon him to destruc- tion. Bleeding may be subsequently necessary in plethoric habits, or in threatened congestion. The costiveness that accompanies convalescence may be best met by aromatic aperients ; and the general tone of the habit restored by stim- ulating tonics and the shower bath. The smallest fatal dose of opium in the case of an adult within our recollection was 4 J grains. Children are much more susceptible to the action of opium than of other medicines, and hence the dose of it for them must be diminished consid- erably below that indicated by the com- mon method of calculation depending on the age. Oxalic Acid. — See Acids. Phosphorus — Found in Lucifer Matches and Some Rat Poisons. ^ — Symp- toms: Symptoms of irritant poisoning; pain in the stomach and bowels; vomit- ing, diarrhea; tenderness and tension of the abdomen. Treatment: An emetic is to be promptly given; copious draughts containing magnesia in suspension; mu- cilaginous drinks. General treatment for inflammatory symptoms. Poisonous Mushrooms. — Symptoms: Nausea, heat and pains in the stomach and bowels; vomiting and purging, thirst, convulsions, and faintings; pulse small and frequent, dilated pupil and stupor, cold sweats and death. Treat- ment: The stomach and bowels are to be cleared by an emetic of ground mustard or sulphate of zinc, followed by frequent doses of Glauber's or of Epsom salts, and large stimulating clysters. After the poison is evacuated, either may be given with small quantities of brandy and water. But if inflammatory symptoms manifest themselves such stimuli should be avoided, and these symptoms appro- priately treated. A hypodermic injection of -^1 grain of atropine is the latest discovered antidote. Potash. — See Alkali. Prussic or Hydrocyanic Acid. — See Acids. Poison Ivy. — Symptoms: Contact with, and with many persons the near approach to, the vine gives rise to vio- lent erysipelatous inflammation, espe- cially of the face and hands, attended with itching, redness, burning, and swell- ing, with watery blisters. Treatment: Give saline laxatives, and apply weak sugar of lead and laudanum, or hmewater and sweet oil, or bathe the parts freely with spirits of niter. Anointing with oil will prevent poisoning from it. Saltpeter (Nitrate of Potash). — Symp- toms: Only poisonous in large quanti- ties, and then causes nausea, painful vomiting, purging, convulsions, faint- ness, feeble pulse, cold feet and hands, with tearing pains in stomach and bowels. Treatment: Treat as is directed for arsenic, for there is no antidote known, and emptying the stomach and bowels with mild drinks must be relied on. Savine. — Symptoms: Sharp pains in the bowels, hot skin, rapid pulse, violent vomiting and sometimes purging, with great prostration. Treatment: Mus- tard and hot fomentations over the stomach and bowels and ice allowed in the stomach only until the inflam- mation ceases. If prostration comes on, food and stimulants must be given by injection. Stramonium, Thorn Apple, or James- town Weed. — Symptoms: Vertigo, head- ache, perversion of vision, slight delir- ium, sense of suffocation, disposition to sleep, bowels relaxed, and all secretions augmented. Treatment: Same as for belladonna. Snake Bites, Cure for. — The Inspector of Police in the Bengal Government re- ports that of 939 cases in which ammonia was freely administered, 207 victims have recovered, and in the cured instances the remedy was not administered till about 3i hours after the attack; on the average of the fatal cases the corresponding duration of time was 4 J hours. Strychnine or Nux Vomica. —The char- acteristic symptom is the special influ- ence exerted upon the nervous system, ANTIDOTES FOR POISONS 97 which is manifested by a general con- traction of all the muscles of the body, with rigidity of the spinal column. A profound calm soon succeeds, which is followed by a new tetanic seizure, longer than the first, during which the respira- tion is suspended. These symptoms then cease, tne breathing becomes easy, and there is stupor, followed by another general contraction. In fatal cases these attacks are renewed, at intervals, with increasing violence, until death en- sues. One phenomenon which is found only in poisonings by substances con- taining strychnine is that touching any part of the body, or even threatening to do so, instantly produces the tetanic, spasm. Antidote: The stomach should be immediately cleared by means of an emetic, tickling the fauces, etc. To counteract the asphyxia from tetanus, etc., artificial respiration should be practiced with diligence and care. "If the poison has been applied externally, we ought immediately to cauterize the part, and apply a ligature tightly above the wound. If the poison has been swallowed for some time we should give a purgative clyster, and administer draughts containing sulphuric ether or oil of turpentine, which in most cases produce a salutary effect. Lastly, in- jections of chlorine and decoction of tannin are of value." According to Ch. Gunther the great- est reliance may be placed on full doses of opium, assisted by venesection, in cases of poisoning by strychnia or nux vomica. His plan is to administer this drug in the form of solution or mix- ture, in combination with a saline ape- rient. Another treatment is to give, if obtain- able, 1 ounce or more of bone charcoal mixed with water, and follow with an active emetic; then to give chloroform in teaspoonful doses, in flour and water or glycerine, every few minutes while the spasms last, and afterwards brandy and stimulants, and warmth of the extremi- ties if necessary. Recoveries have fol- lowed the free and prompt administra- tion of oils or melted butter or lard. In all cases empty the stomach if possible. Sulphate of Zinc— White Vitriol. — See Zinc. Tin— Chloride of Tin, Solution of Tin (used by dyers), Oxide of Tin, or Putty Powder. — Symptoms: Vomiting, pains in the stomach, anxiety, restlessness, fre- quent pulse, delirium, etc. Treatment: Empty the stomach, and give whites of eggs in water, milk in large quantities, or flour beaten up in water, with mag- nesia or chalk. Tartar Emetic. — See Antimony. Tobacco. — Symptoms: Vertigo, stu- por, fainting, nausea, vomiting, sudden nervous debility, cold sweat, tremors, and at. times fatal prostration. Treat- ment: After the stomach is empty apply mustard to the abdomen and to the ex- tremities, and give strong coffee, with brandy and other stimulants, with warmth to the extremities. Zinc — Oxide of Zinc, Sulphate of Zinc, White Vitriol, Acetate of Zinc. — Symptoms: Violent vomiting, astrin- gent taste, burning pain in the stomach, pale countenance, cold extremities, dull eyes, fluttering pulse. Death seldom ensues, in consequence of the emetic effect. Treatment: The vomiting may be relieved by copious draughts of warm water. Carbonate of soda, administered in solution, will decompose the sulphate of zinc. Milk and albumen will also act as antidotes. General principles to be observed in the subsequent treatment. Woorara. — Symptoms: When taken into the stomach it is inert; when ab- sorbed through a wound it causes sudden stupor and insensibility, frothing at the mouth, and speedy death. Treatment; Suck the wound immediately, or cut it out and tie a cord around the limb be- tween the wound and the heart. Apply iodine, or iodide of potassium, and give it internally, and try artificial respiration. ANTIFERMENTS. The following are tried and useful formulas : I. — Sulphite (not sulphate) of lime, in fine powder, 1 part; marble dust, ground oyster shells, or chalk, 7 parts; mix, and pack tight, so as to exclude the air. II. — Sulphite (not sulphate) of potassa, 1 part; new black-mustard seed (ground in a pepper mill), 7 parts; mix, and pack so as to exclude air and moisture per- fectly. Dose (of either), J ounce to IJ ounces per hogshead. III. — Mustard seed, 14 pounds; cloves and cafjsicum, of each, IJ pounds; mix, and grind them to powder in a pep- Eer mill. Dose, J to J pound per hogs- ead. A portion of any one of these compounds added to cider, or the like, soon allays fermentation, when excessive, or when it has been renewed. The first formula is preferred when there is a tendency to acidity. The second and third may be advantageously used for wine and beer, as 98 ANTISEPTICS well as for cider. The third compound greatly improves the flavor and the ap- parent strength of the liquor, and also improves its keeping qualities. Anchovy Preparations Extemporaneous Anchovy Sauce. — - Anchovies, chopped small 3 or 4 Butter 3 ounces Water 2 ounces Vinegar 1 ounce Flour 1 ounce Mix, place over the fire, and stir until the mixture thickens. Then rub through a coarse sieve. Essence of Anchovies. — Remove the bones from 1 pound of anchovies, reduce the remaining portions of the fish to a pulp in a Wedgewood mortar, and pass through a clean hair or brass sieve. Boil the bones and other portions which will not pass through the sieve in 1 pint of water for 15 minutes, and strain. To the strained liquor add 2J ounces of salt and 21 ounces of flour, and the pulped anchovies. Let the whole simmer over the fire for three or four minutes; re- move from the fire, and when the mix- ture has cooled a little add 4 ounces of strong vinegar. The product (nearly 3 pounds) may be then bottled, and the corks tied over with bladder, and either waxed or capsuled. Anchovy Paste. — Anchovies 7 pounds Water 9 pints Salt 1 pound Flour 1 pound Capsicum i ounce Grated lemon peel. . . 1 Mushroom catsup. . . 4 ounces Anchovy Butter. — Anchovies, boned and beaten to a paste . . 1 part Butter 2 parts Spice enough ANTIFOULING COMPOSITIONS: See Paints. ANTIFREEZING SOLUTION : See Freezing Preventives. ANTIFRICTION METAL : See Alloys, under Phosphor Bronze and Antifriction Metals. ANTIQUES, TO PRESERVE. The best process for the preservation of antique metallic articles consists in a retransformation of the metallic oxides into metal by the electrolytic method. For this purpose a zinc strip is wound around the article and the latter is laid in a soda-lye solution of 5 per cent, or suspended as the negative pole of a small battery in a potassium cyanide solution of 2 per cent. Where this method does not seem practicable it is advisable to edulcorate the objects in running water, in which ojjeration fragile or easily de- stroyed articles may be protected by winding with gauze; next, they should be carefully dried, first in the air, then with moderate heat, and finally protected from further destruction by immersion in melted paraflSne. A dry place is re- quired for storing the articles, since par- affine is not perfectly impermeable to water in the shape of steam. ANTIRUST COMPOSITIONS: See Rust Preventives. Antiseptics Antiseptic Powders. — I. — Borax 3 ounces Dried alum 3 ounces Thymol 22 grains Eucalyptol 20 drops Menthol IJ grains Phenol 15 grains Oil of gaultheria ... 4 drops Carmine to give a pink tint. II. — Alum, powdered 50 " Borax, powdered 50 Carbolic acid, crystals ... 5 Oil of eucalyptus 5 Oil of wintergreen 5 Menthol 5 Thymol 5. III. — Boracic acid 10 ounces Sodium bi borate. . . 4 ounces Alum 1 ounce Zinc sulphocarbolate 1 ounce Thymic acid 1 drachm . Mix thoroughly. For an antiseptic wash dissolve 1 or 2 drachms in a quart of warm water. I V.-— Ektogan is a new dusting powder which is a mixture of zinc hydroxide and dioxide. It Is equivalent to about 8 per cent of active oxygen. It is a yellowish- white odorless and tasteless powder, in- soluble in water. It is used externally in wounds and in skin diseases as a moist dressing mixed with citric, tartaric, or ANTISEPTICS 99 2.3- (S'w Co" tannic acid, which causes the liberation of oxygen. With iodides it liberates iodine. It is stated to be strongly anti- septic; it is used in the form of a powder, a gauze, and a plaster. Antiseptic Pencils. — I. — Tannin q. s. Alcohol, q. s 1 part Ether, q. s 3 parts Make into a mass, using as an excip- ient the alcohol and ether previously mixed. Roll into pencils of the desired length and thickness. Then coat with collodion, roll in pure silver leaf, and finally coat with the following solution of gelatine and set aside to dry: Gelatine 1 drachm Water 1 pint Dissolve by the aid of a gentle heat. When wanted for use, shave away a portion of the covering, dip the pencil into tepid water and apply. II. — Pencils for stopping bleeding are prepared by mixing: Purified alum 480 Borax 24 Oxide zinc 2i Thymol 8 Formalin 4 Melting carefully in a water bath, add- ing some perfume, and forming mixture into pencils or cones. A very convenient way to form into pencils where no mold need be made is to take a small glass tube, roll a piece of oil paper around the tube, remove the glass tube, crimp the paper tube thus formed on one end and stand it on end or in a bottle, and pour the melted so- lution in it and leave until cool, then re- move the paper. Antiseptic Paste (Poison) for Organic Specimens. — ■ (a) Wheat flour 16 ounces Beat to a batter with cold water 16 fluidounces Then pour into boil- ing water 32 fluidounces (6) Pulverized gum ar- able 2 ounces Dissolve in boil- ing water 4 fluidounces (c) Pulverized alum. . . 2 ounces Dissolve in boil- ing water 4 fluidounces , (d) Acetate of lead .... 2 ounces Dissolve in boil- ing water. ....... 4 fluidounces (e) Corrosive sublimate 10 grains Mix (a) and (h) while hot and continue to simmer; meanwhile stir in (c) and mix thoroughly; then add (d). Stir briskly, and pour in the dry corrosive sublimate. This paste is very poison- ous. It is used for anatomical work and for pasting organic tissue, labels on skel- etons, etc. Mouth Antiseptics.— I. — Thymic acid, 25 centigrams (3J grains): benzoic acid, 3 grams (45 grains); essence of pep- permint, 75 centigrams (10 minims); tincture of eucalyptus, 15 grams (4j drachms); alcohol, 100 grams (3 ounces). Put sufficient in a glass of water to render latter milky. II. — Tannin, 12 grams (3 drachms); menthol, 8 grams (2 drachms); thymol, 1 gram (15 grains); tincture benzoin, 6 grams (90 minims); alcohol, 100 grams (.S ounces). Ten drops in a half-glassful of tepid water. See also Dentifrices for Mouth Washes. Antiseptic Paste. — Difficulty is often experienced in applying an antiseptic dressing to moist surfaces, such as the lips after operation for harelip. A paste for this purpose is described by its origi- nator, Socin. The composition is: Zinc oxide, 50 parts; zinc chloride, 5 parts; distilled water, 50 parts. The paste is applied to the wound, previously dried by means of a brush or spatula, allowed to dry on, and to remain in place five or six days. It may then be removed and ■ a fresh application made. Potassium bicar- bonate 32.0 grams Sodium benzoate . . 32.0 grams Sodium borate 8.0 grams Thymol 0.2 gram Eucalyptol 2.0 c. cent. Oil of peppermint. . 0.2 c. cent. Oil of wintergreen. . 0.4 c. cent. Tincture of cudbear 15.0 c. cent. Alcohol 60.0 c. cent. Glycerine 250.0 c. cent. Water, enough to make 1,000.0 c. centimeters Dissolve the salts in 660 cubic centi- meters of water, and the thymol, eucalyp- tol, and oils in the alcohol. Mix the alcoholic solution with the glycerine and add the aqueous liquid, then the tincture of cudbear, and lastly enough water to make 1,000 cubic centimeters. Allow to stand a few days, then filter, adding a little magnesium carbonate to the filter, if necessary, to get a brilliant filtrate. This is fr.om the Formulary of the Bournemouth Pharmaceutical Associa- tion, as reported in the Canadian Phar- maceutical Association: TOO ANTISEPTICS Alkaline Glycerine of Th)rtnol.— Sodium bicarbonate. . 100 grains Sodium biborate 200 grains Sodium benzoate 80 grains Sodium salicylate .... 40 grains Menthol 2 grains Pumilio pine oil 4 minims Wintergreen oil 2 minims Thymol 4 grains Eucalyptol 12 minims Compound Solution of Thymol. — A Benzoic acid 64 grains Borax 64 grains Boric acid 128 grains Distilled water 6 ounces Dissolve. B Thymol 20 grains Menthol 6 grains Eucalyptol 4 minims Oil of wintergreen. ... 4 minims Oil of peppermint. ... 2 minims Oil of thyme 1 minim Alcohol (90 per cent) . 3 ounces Dissolve. Mix solutions A and B, make up to 20 fluidounces with distilled water, and filter. Oil of Cinnamon as an Antiseptic. — Oil of cinnamon in a 9-per-cent emulsion, when used upon the hands, completely sterilizes them. A 7-to 8-per-cent emul- sion is equal to a 1-per-cent solution of corrosive sublimate and is certainly far more agreeable to use. Oil of thyme in an 11 -per-cent solution is equal to a 7-per- cent solution of cinnamon oil. Green Coloring for Antiseptic Solu- tions. — The safest coloring substance for use in a preparation intended either for internal administration or for applica- tion to the skin is the coloring matter of leaves, chlorophyll. A tincture of spin- ach or of grass made by macerating 2 ounces of the freshly cut leaves in a pint of alcohol for five days will be found to give good results. If the pure coloring substance is wanted the solvent should be evaporated ofl'. Antiseptic Bromine Solution. — Bromine 1 ounce Sodium chloride 8 ounces Water 8 pints Dissolve the sodium chloride in the water and add the bromine. This solu- tion is to be diluted, when applied to broken skin surfaces, 1 part with 15 parts of water. Substitute for Rubber Gloves. — Mur- phy has found that a 4-, 6-, or 8-per-cent solution of gutta-percha in benzine, when applied to the hands of the surgeon or the skin of the patient, will seal these surfaces with an insoluble, impervious, and practically imperceptible coating — a coating that will not allow the secre- tions of the skin to escape, and will not admit secretions, blood, or pus into the crevices of the skin. At the same time it does not impair the sense of touch nor the pliability of the skin. A similar solu- tion in acetone also meets most of the requirements. Murphy's routine method of hand prep-, aration is as follows: First, five to seven minutes' scrubbing with spirits of green soap and running hot water; second, three minutes' washing with alcohol; third, when the hands are thoroughly dried, the gutta-percha solution is poured over the hands and forearms, care being taken to fill in around and beneath the nails. The hands must be kept exposed to the air with the fingers separated until thoroughly dry. The coating is very thin and can be recognized only by its glazed appearance. It will resist soap and water, but is easily removed by wash- ing in benzine. The hands can be washed in bichloride or any of the anti- septic solutions without interfering with the coating or affecting the skin. If the operations be many, or prolonged, the coating wears away from the tips of the finders, but is easily renewed. For the remaining portion of the hands one application is sufficient for a whole morn- ing's work. The 4-per-cent solution of rubber wears better on the tips of the fingers, in han- dling in.struments, sponges, and tissues than the acetone solution. For the abdomen the acetone solution has the advantage, and it dries in three to four seconds after its application, while the benzine solution takes from three to four and a half minutes to make a dry, firm coating. The preparation of the patient's skin consists in five minutes' scrubbing with spirits of green soap, washing with ether, followed by alcohol. The surface is then swabbed over thoroughly with the ben- zine or acetone solution. The gutta-percha solution is prepared by dissolving the pure gutta-percha chips in sterile benzine or acetone. These solutions do not stand boiling, as this impairs the adhesiveness and elasticity of the coating. ANTISEPTICS FOR CAGED BIRDS: See Veterinary Formulas. ANTISEPTICS 101 APOLLINARIS : See Waters. APPLE SYRTJP : See Essences and Extracts. AQUA FORTIS FOR BRIGHT LUS- TER: See Castings. AQUA FORTIS FOR THE TOUCH- STONE : See Gold. AQUARIUM CEMENTS: See Adhesives. AQUARIUM PUTTY : See Putty. ARGENTAN : See Alloys. ARMENIAN CEMENT: See Adhesives under Jewelers' Ce- ments. ARMS, OIL FOR : See Lubricants. ARNICA SALVE : See Ointments. ARSENIC ALLOYS: See Alloys. ASBESTOS CEMENT: See Adhesives. ASBESTOS FABRIC : See Fireproofing. ASPHALT AS AN INGREDIENT OF INDIA RUBBER: See Rubber. ASPHALT IN PAINTING: See Paint. ASPHALT VARNISHES: See Varnishes. ASSAYING: See Gold. ASTHMA CXHRES.— Asthma Papers.-— 1. — Impregnate bibulous paper with the following: Extract of stramonium, 10; potassium nitrate, 17; sugar, 20; warm water, 200 parts. Dry. II. — Blotting or gray filter paper, 120; potassium nitrate, 60; powdered bella- donna leaves, 5; powdered stramonium leaves, 5; powdered digitalis leaves, 5; powdered lobelia, 5; myrrh, 10; oli- banum, 10; phellandrium fruits, 5 parts. Stramonium Candle. — Powdered stra- monium leaves, 120; potassium nitrate, 72; Peruvian balsam, 3; powdered sugar, 1; powdered tragacanth, 4 jjarts. (Water, q. s. to mass; roll into suitable shapes and dry.) Cleary's Asthma Fumigating Powder. — Powdered stramonium, 15; powdered belladonna leaves, 15; powdered opium, 2; potassium nitrate, 5. Asthma Fumigating Powders. — I. — Powdered stramonium leaves, 4; pow- dered aniseed, 2; potassium nitrate, 2 parts. II. — Powdered stramonium, 30; potas- sium nitrate, 5; powdered tea, 15; pow- dered eucalyptus leaves, 15; powdered Indian hemp, 15; powdered lobelia, 15; powdered aniseed, 2; distilled water, 45 parts. (All the herbal ingredients in coarse powder; moisten with the water in which the potassium nitrate has been previously dissolved, and dry.) Schiffmann s Asthma Powder. — Potas- sium nitrate, 25; stramonium, 70; bella- donna leaves, 5 parts. Neumeyer's Asthma Powder. — Potas- sium nitrate, 6 parts; sugar, 4; stramo- nium, 6; powdered lobelia, 1. Fischer's Asthma Powder. — Stramo- nium, 5 parts ; potassium nitrate, 1 ; pow- dered '^c/w'Wea millefolium, leaves, 1. Vorlaender's Asthma Powder. — Stra- monium, 150; lobelia, 80; arnica flowers, 80; potassium nitrate, 30; potassium iodide, 3; naphthol, 1,100 parts. Asthma Cigarettes. — I. — Belladonna leaves, 5 parts; stramonium leaves, 5 parts; digitalis leaves, 5 parts; sage leaves, 5 parts; potassium nitrate, 75 parts; tincture of benzoin, 40 parts; boil- ing water, 1,000 parts. Extract the leaves with the boiling water, filter, and in the filtrate dissolve the salts. Im- merse in the fluid sheets of bibulous paper (Swedish filter paper will an- swer) and let remain for 24 hours. At the end of this time remove, dry, cut into pieces about 2| by 4 inches, and roll into cigarettes. II. — Sodium arseniate, 3 grains; ex- tract of belladonna, 8 grains; extract of stramonium, 8 grains. Dissolve the ar- seniate of sodium in a small quantity of water, and rub it with the two extracts. Then soak up the whole mixture with fine blotting paper, which is dried and cut into 24 equal parts. Each part is rolled up in a piece of cigarette paper. Four or five inhalations are generally sufficient as a dose. ASTHMA IN CANARIES: See Veterinary Formulas. ASTRINGENT FOR HORSES: See Veterinary Formulas. ■ ATOMIC WEIGHTS: See Weights and Measures. 102 BAKING POWDERS ATROPIira;, ANTIDOTE TO. The usual physiological antidotes to the mydriatic alkaloids from belladonna, stramonium, and hyoscyamus are mor- phine or eserine. Strong tea, coffee, or brandy are usually administered as stim- ulants. Chief reliance has usually been placed upon a stomach siphon and plenty of water to wash out the contents of the stomach. The best antidote ever reported was that of muscarine extracted by alcohol from the mushrooia, Amanita muscaria, but the difficulty of securing the same has caused it to be overlooked and almost forgotten. Experiments with this antidote showed it to be an al- most perfect opposite of atropine in its effects upon the animal body and that it neutralized poisonous doses. AQUA AROMATICA.— Cort. cinnam. chinens. 3 parts Flor. lavandulse 5 parts Fol. Menth. pip 5 parts Fol. rosmarini 5 parts Fol. salvise 10 parts Fruct. foeniculi 3 parts Spiritus 70 parts Aqua 300 parts Macerate the drugs in the mixed al- cohol and water for 24 hours and distill 200 parts. AQUA REGIA. — Aqua regia consists in principle of 2 parts of hydrochloric acid and 1 part of nitnc acid. But this quan- tity varies according to the shop where it is used for gilding or jewelry, and some- times the proportion is brought to 4 parts of hydrocnloric acid to 1 of nitric acid. AUTOMOBILES, ANTIFREEZING SO- LUTION FOR: See Freezing Preventives. AXLE GREASE: See Lubricants. BABBITT METAL: See Alloys. Baking Powders I. — Tartaric acid, 3 parts; sodium bicarbonate, 1 part; starch, 0.75 part. Of this baking powder the required amount for 600 parts of flour is about 20 parts for rich cake, and 15 parts for lean cake. The substances employed must be dry, each having been previously sifted by itself, so that no coarse pieces are present; the starch is mixed with the sodium bicarbonate before the acid is added. When large quantities are pre- pared the mixing is done by machine; smaller quantities are best mixed to- gether in a spacious mortar, and then passed repeatedly through a sieve. In- stead of starch, flour may be used, but starch is preferable, because it inter- feres with the action of the acid on the alkali. II. — A formula proposed by Cramp- ton, of the United States Department of Agriculture, as the result of an investi- gation of the leading baking powders of the market, is: Potassium bitartrate. . . 2 parts Sodium bicarbonate ... 1 part Cornstarch 1 part The addition of the starch serves the double purpose of a " filler" to increase the weight of the powder and as a pre- servative. A mixture of the chemicals alone does not keep well. The stability of the preparation is in- creased by drying each ingredient sepa- rately by exposure to a gentle heat, mixing at once, and immediately placing in bot- tles or cans and excluding access of air and consequently of moisture. This is not a cheap powder; but it is the best that can be made, as to health- fulness. III. — Sodium acid phos- phate 20 parts Calcium acid phos- phate 20 parts Sodium bicarbonate 25 parts Starch 35 parts Caution as to drying the ingredients and keeping them dry must be observed. Even the mixing should be done in a room free from excessive humidity. IV. — ^Alum Baking Powder. — Ammonium alum, anhydrous 15 parts Sodium bicarbonate 18 parts Cornstarch, q. s. to make 100 parts. _ Mix. The available carbon dioxide yielded is 7i per cent or 8 per cent. BALANCE SPRING: See Watchmakers' Formulas. BALDNESS : See Hair Preparations. BALL BLUE: See Laundry Preparations. BALSAMS : See also Ointments. BALSAMS log Wild-Cherry Balsam.— Wild-cherry bark . . 1 ounce Licorice root 1 ounce Ipecac 1 ounce Bloodroot 1 drachm Sassafras 1 drachm Compound tincture of opium 1 fluidounce Fluid extract of cubeb 4 fluidrachms Moisten the ground drugs with the fluid extract and tincture and enough menstruum consisting of 25 per cent alcohol, and after six or eight hours pack in a percolator, and pour on menstruum until percolation begins. Then cork the orifice, cover the percolator, and allow to macerate for 24 hours. Then percolate to 10 fluidounces, pouring back the first portion of percolate until it comes through clear. In the percolate dissolve 1 ounce of ammonium chloride and t pound of sugar by cold percolation, adding simple syrup to make 16 fluidounces. Finally add 1 fluidrachm of chloroform. Balsam Spray Solution. — Oil of Scotch pine. . . 30 minims Oil of eucalyptus. ... 1 drachm Oil of cinnamon .... 30 minims Menthol crystals .... q. s. Fluid extract of balm- of-Gilead buds ... 1 drachm Tincture of benzoin, enough to make . . 4 ounces This formula can, of course, be modi- fied to suit your requirements. The oils of eucalyptus and cinnamon can be omit- ted and such quantities of tincture of tolu and tincture of myrrh incorporated as may be desired. Birch Balsata. — Parts by weight Alcohol 30,000 Birch juice 3,000 Glycerine 1,000 Bergamot oil 90 Vanillin.... 10 Geranium oil 50 Water 14,000 BALSAM STAINS, TO REMOVE: See Cleaning Preparations and Meth- ods. BANANA BRONZING SOLUTION: See Plating. BANANA SYRUP : See Essences and Extracts. BANANA TRICK, THE BURNING: See Pyrotechnics. BANJO SOUR: See Beverages under Lemonade. BAR POLISHES : See Polishes. BARBERS'-ITCH CURE: See Ointments. BARBERS' POWDER: See Cosmetics. BAROMETERS (PAPER): See Hygrometers and Hygroscopes. BATH, AIR : See Air Bath. BATH METAL: See Alloys. BATH POWDER: See Cosmetics. BATH TABLETS, EFFERVESCENT. Tartaric acid 10 parts Sodium bicarbonate. . 9 parts Rice flour 6 parts A few spoonfuls of this, when stirred into a bathtubful of water, causes a co- pious liberation of carbon dioxide, which is refreshing. This mixture can be made into tablets by compression, moistening, if necessary, with alcohol. Water, of course, cannot be used in making them, as its presence causes the decomposition referred to. Perfume may be added to this powder, essential oils being a good form. Oil of lavender would be a suit- . able addition, in the proportion of a fluidrachm or more to the pound of powder. A better but more expensive perfume may be obtained by mixing 1 part of oil of rose geranium with 6 parts of oil of lavender. A perfume still more desirable may be had by adding a mix- ture of the oils from which Cologne water is made. For an ordinary quality the following will suffice: Oil of lavender . . 4 fluidrachms Oil of rosemary. . 4 fluidrachms Oil of bergamot. . 1 fluidounce Oil of lemon 2 fluidounces ' Oil of clove 30 minims For the first quality the following may be taken: Oil of neroli 6 fluidrachms Oil of rosemary. . 3 fluidrachms Oil of bergamot.. 3 fluidrachms Oil of cedrat 7 fluidrachms Oil of orange peel 7 fluidrachms A fluidrachm or more of either of these mixtures may be used to the pound, as in the case of lavender. These mixtures may also be used in the preparation of a bath powder (non-eflfer- 104 BATTERY FILLERS vescent) made by mixing equal parts of powdered soap and powdered borax. BATH-TUB ENAMEL : See Varnishes. BATH-TUB PAINTS: See Paint. BATTERY FILLERS AND SOLUTIONS. I. — In the so-called dry batteries the exciting substance is a paste instead of a fluid; moisture is necessary to cause the reaction. These pastes are gener- ally secret preparations. One of the earlier "dry" batteries is that of Gassner. The apparatus consists of a containing vessel of zinc, which forms the positive element; the negative one is a cylinder of carbon, and the space between is filled with a paste, the recipe for which is : Oxide of zinc. 1 part Sal ammoniac 1 part Plaster 3 parts Chloride of zinc 1 part Water 9, parts The usual form of chloride-of-silver battery consists of a sealed cell contain- ing a zinc electrode, the two being gen- erally separated by some form of porous septum. Around the platinum or silver electrode is cast a quantity of silver chloride. This is melted and general- ly poured into molds surrounding the metallic electrode. The exciting fluid is either a solution of ammonium chlo- ride, caustic potassa, or soda, or zinc sulphate. As ordinarily constructed, these cells contain a paste of the electro- lyte, and are sealed up hermetically in glass or hard-rubber receptacles. II. — The following formula is said to yield a serviceable filling for dry batteries: Charcoal 3 ounces Graphite 1 ounce Manganese dioxide. . . 3 ounces Calcium hydrate 1 ounce Arsenic acid 1 ounce Glucose mixed with dextrine or starch . . 1 ounce Intimately mix, and then work into a paste of proper consistency with a sat- urated solution of sodium and ammo- nium chlorides containing one-tenth of its volume of a mercury-bichloride solu- tion and an equal volume of hydrochloric acid. Add the fluid gradually, and well work up the mass. III. — Calcium chloride, crystallized 30 parts Calcium chloride, granulated 30 parts Ammonium sulphate 15 parts Zinc sulphate 25 parts Solutions for Batteries. — The almost exclusively employed solution of sal am- moniac (ammonium chloride) presents the drawback that the zinc rods, glasses, etc., after a short use, become covered with a fine, yellow, very difficultly sol- uble, basic zinc salt, whereby the gen- eration of the electric current is impaired, and finally arrested altogether. This evil may be remedied by an admixture of cane sugar. For a battery of ordinary size about 20 to 25 grams of sugar, dis- solved in warm water, is sufficient per 50 to 60 grams of sal ammoniac. After prolonged use only large crystals (of a zinc saccharate) form, which, however, become attached only to the zinc rod in a few places, having very little disad- vantageous efl'ect upon the action of the batteries and being easy to remove, owing to their ready solubility, BAUDOIN METAL: See Alloys. BAY RUM. I. — Oil of bay 1 drachm Alcohol 18 ounces Water 18 ounces Mix and filter through magnesia. n. — Bay-leaf otto J ounce Magnesium carbonate, j ounce Jamaica rum 2 pints Alcohol 3 pints Water 3 pints Triturate the otto with the magnesium carbonate, gradually adding the other ingredients, previously mixed, and filter. If the rum employed contains sufficient sugar or mucilaginous matter to cause any stickiness to be felt on the skin, rec- tification will be necessary. BEAR FAT: See Fats. BEARING LUBRICANT: See Lubricants. BEARING METAL: See Babbitt Metal, Bearing Metal, and Phosphor Bronze, under Alloys. BEDBUG DESTROYERS: See Insecticides. BEEF. IRON, AND WINE. Extract of beef .... 512 grains Detannated sherry wine '. 26 ounces Alcohol.... 4 ounces Citrate of iron and ammonia 256 grains Simple sirup 12 ounces BELT PASTES 105 Tincture of orange . 2 ounces Tincture of carda- mom CO 1 ounce Citric acid 10 grains Water, enough to make 4 pints Let stand 24 hours, agitate frequently, and filter. See that the orange is fresh. BEEF PEPTONOIDS: See Peptonoids. BEEF PRESERVATIVES: See Foods. BEEF TEA: See Beverages. BEERS, ALCOHOL IN : See Alcohol. BEER, GINGER, HOP-BITTER, SCOTCH, AND SPRUCE : See Beverages. BEER, RESTORATION OF SPOILED. I. — Powdered chalk is poured into the cask and allowed to remain in the beer until completely precipitated. II. — The liquor of Doiled raisins may be poured into the beer, with the result that the sour taste of the beer is disguised. III. — A small quantity of a solution of potash will remove the sour taste of beer. Too much potash must not be added; otherwise the stomach will suffer. Beer thus restored will not keep long. IV. — If the beer is not completely spoiled it may be restored by the addi- tion of coarsely powdered charcoal. V. — If the addition of any of the above- mentioned substances should affect the taste of the beer, a little powdered zingi- ber may be used to advantage. Syrup or molasses may also be employed. BEES, FOUL BROOD IN. "Foul brood" is a contagious disease to which bees are subject. It is caused by bacteria and its presence may be known by the bees becoming languid. Dark, stringy, and elastic masses are found in the bottom of the cells, while the caps are sunken or irregularly punc- tured. Frequently the disease is said to be accompanied by a peculiar offensive odor. Prompt removal of diseased col- onies, their transfer to clean and thor- oughly disinfected hives, and feeding on antiseptically treated honey or syrup are the means taken for the prevention and cure of the disease. The antiseptics used are salicylic acid, carbolic acid, or formic acid. Spraying the brood with any one of these remedies in a solution and feeding with a honey or syrup medi- cated with them will usually be all that is required by way of treatment. It is also said that access to salt water is im- portant for the health of bees. BEETLE POWDER: See Insecticides. BELL METAL: See Alloys. BELLADONNA, ANTIDOTES TO: See Antidotes and Atropine. BELT PASTES FOR INCREASING ADHESION. I. — Tallow 50 parts Castor oil, crude. ... 20 parts Fish oil 20 parts Colophony 10 parts Melt on a moderate fire and stir until the mass cools. II.— Melt 250 parts of gum elastic with 250 parts of oil of turpentine in an iron, well-closed crucible at 122° F. (caution!) and mix well with 200 parts of colophony. After further melting add 200 parts of yellow wax and stir carefully. Melt in 750 parts of heated train oil, 250 parts of tallow, and to this add, with constant stirring, the first mixture when the latter is still warm, and let cool slowly with stirring. This grease is intended for cotton belts. III. — Gutta-percha 40 parts Rosin 10 parts Asphalt 15 parts Petroleum 60 parts Heat in a glass vessel on the water bath for a few hours, until a uniform so- lution is obtained. Let cook and add 15 parts of carbon disulphide and allow the mixture to stand, shaking it frequently. Directions jar Use. — The leather belts to be cemented should first be roughened at the joints, and after the cement has been applied they should be subjected to a strong pressure between warm rollers, whereupon they will adhere to- gether with much tenacity. Preservation of Belts. — In a well-cov- ered iron vessel heat at a temperature of 50° C. (152° F.) 1 part by weight of caoutchouc, cut in small pieces, with 1 part by weight of rectified turpentine. When the caoutchouc is dissolved add 0.8 part of colophony, stir until this is dissolved, and add to the mixture 0.1 part of yellow wax. Into another vessel of suitable size pour 3 parts of fish oil, add 1 part of tallow, and neat the mixture until the tallow is melted; then pour on the contents of the first vessel, con- stantly stirring — an operation to be con- tinued until the matter is cooled and congealed. This grease is to be rubbed 106 BENZINE on the inside of the belts from time to time, while they are in use. The belts run easily and do not slip. The grease may also serve for improving old belts. For this purpose the grease should be rubbed on both sides in a, warm place. A first layer is a,llowed to soak in, and another applied. To Make a Belt Pull. — Hold a piece of tar soap on the inside of the belt while it is running. BELT CEMENT: See Adhesives. BELT GLUE: See Adhesives. BELT LUBRICANT: See Lubricants. BENEDICTINE : See Wines and Liquors. Benzine Benzine, to Color Green.— Probably the simplest and cheapest as well as the best method of coloring benzine green is to dissolve in it sufficient oil soluble anihne green of the desired tint to give the re- quired shade. Purification of Benzine. — Ill-smelling benzine, mixed with about 1 to 2 per cent of its weight of free fatty acid, will dis- solve therein. One-fourth per cent of tannin is added and all is mixed well. Enough potash or soda lye, or even lime milk, is added until the fatty acids are saponified, and the tannic acid is neu- tralized, shaking repeatedly. After a while the milky liquid separates into two layers, viz., a salty, soapy, mud-sediment and clear, colorless, and almost odorless benzine above. This benzine, filtered, may be employed for many technical purposes, but gives an excellent, pure pi-oduct upon a second distillation. Fatty acid from tallow, olive oil, or other fats may be used, but care should be taken that they have as slight an odor of rancid fat as possible. The so-called elaine or olein — more correctly oleic acid — of the candle factories may likewise be employed, but it should first be agi- tated with a -,^-per-cent soda solution to get rid of the bad-smelling fatty acids, especially the butyric acid. The Prevention of the Inflammability of Benzine. — A mixture of 9 volumes tetrachloride and 1 volume of benzine is practicably inflammable. The flame is hoon extinguished by itself. Substitute for Benzine as a Cleansing Agent. — I. — Chloroform 75 parts Ether 75 parts Alcohol 600 parts , Decoction of quillaya bark 22,500 parts Mix. II. — Acetic ether, tech- nically pure 10 parts Amyl acetate 10 parts Ammonia water 10 parts Alcohol dilute 70 parts Mix. III. — Acetone 1 part Ammonia water 1 part Alcohol dilute 1 part Mix. Deodorizing Benzine. — I. — Benzine 20 ounces Oil of lavender. . . 1 fluidrachm Potassium dichro- mate 1 ounce Sulphuric acid ... 1 fluidounce Water 20 fluidounces Dissolve the dichromate in the water, add the acid and, when the solution is cold, the benzine. Shake every hour during the day, allow to stand all night, decant the benzine, wash with a pint of water and again decant, then add the oil of lavender. II. — First add to the benzine 1 to 2 per cent of oleic acid, which dissolves. Then about a quarter of 1 per cent of tannin is incorporated by shaking. A suiKcient quantity of caustic potassa solution, or milk of lime, to combine with the acids is then well shaken into the mixture, and the whole allowed to stand. The benzine rises to the top of the watery fluid, sufiiciently deodorized and decol- orized for practical purposes. III.— To 1,750 parts of water add 250 parts of sulphuric acid, and when it has cooled down add 30 parts of potassium permanganate and let dissolve. Add this solution to 4,500 parts of benzine, stir well together, and set aside for 24 hours. Now decant the benzine and to it add a solution of 7i parts of pdtassium Eermanganate and 15 parts of sodium ydrate iu 1,000 parts of water, and agi- tate the substances well together. Let stand until the benzine separates, then draw off. IV. — Dissolve 3 parts of litharge and 18 parts of sodium hydrate in 40 parts of water. Add this to 200-250 parts of benzine and agitate well together for two minutes, then let settle and draw off the benzine. Rinse the latter by agitating BEVERAGES 107 it with plenty of clear water, let settle, draw off the benzine, and, if necessary, repeat the operation. BENZINE, CLEANING WITH: See Cleaning Preparations and Meth- ods, under Miscellaneous Methods. BENZOIC ACID IN FOOD: See Food. BENZOIN SOAP: See Soap. BENZOPARAL : A neutral, bland, oily preparation of benzoin, Useful for applying various antiseptics by the aid of an atomizer, nebulizer, or vaporizer. Can be used plain or in combination with other easily dissolved medicinals. Paraffine, litjuid 16 ounces Gum benzoin 1 ounce Digest on a sand bath for a half hour and filter. Beverages GINGER ALE AND GINGER BEER: Old-Fashioned Ginger Beer.— Lemons, large and sound 6 only Ginger, bruised 3 ounces Sugar * cups Yeast, compressed ... | cake Boiling water 4 gallons Water enough Slice the lemons into a large earthen- ware vessel, removing the seed. Add the ginger, sugar, and water. When the mixture has cooled to lukewarmness, add the yeast, first diffused in a little water. Cover the vessel with a piece of cheese cloth, and let the beer stand 24 hours. At the end of that time strain and bottle it. Cork securely, but not so tightly that the bottles would break before the corks would fly out, and keep in a cool place. Ginger Beer. — Honey gives the bever- age a peculiar softness and, from not having fermented with yeast, is the less violent in its action when opened. In- gredients: White sugar, J pound; honey, i pound; bruised ginger, 5 ounces; juice of sufiicient lemons to suit the taste; water, 4i gallons. Boil the ginger in 3 quarts of the water for half an hour, then add the ginger, lemon juice, and honey, with the remainder of the water; then strain through a cloth; when cold, add the quarter of the white of an egg and a tea- spoonful of essence of lemon. Let the whole stand for four days before bot- tling. This quantity will make a hun- dred bottles. Ginger Beer without Yeast. — Ginger, bruised 1 J pounds Sugar 20 pounds Lemons 1 dozen Honey 1 pound Water enough Boil the ginger' in 3 gallons of water for half an hour; add the sugar, the lemons (bruised and sliced), the honey, and 17 gallons of water. Strain and, after three or four days, bottle. Package Pop. — Cream of tartar 3 ounces Ginger, bruised 1 ounce Sugar 24 ounces Citric acid 2 drachms , Put up in a package, and direct that it be shaken in 1 J gallons of boiling water, strained when cooled, fermented with 1 ounce of yeast, and bottled. Gifiger-Ale Extract. — I. — Jamaica ginger, coarse powder. . 4 ounces Mace, powder.. . . J ounce Canada snakeroot, coarse powder. . 60 grains Oil of lemon 1 iluidrachm Alcohol 12 fluidounces Water 4 fluidounces Magnesium car- bonate or puri- fied talcum 1 av. ounce Mix the first four ingredients, and make 16 fluidounces of tincture with the alcohol and water, by percolation. Dissolve the oil of lemon in a small quan- tity of alcohol, rub with magnesia or tal- cum, add gradually with constant trit- uration the tincture, and filter. The extract may be fortified by adding 4 avoirdupois ounces of powdered grains of paradise to the ginger, etc., of the above before extraction with alcohol and water. II. — Capsicum, coarse powder 8 ounces Water 6 pints Essence of ginger. 8 fluidounces Diluted alcohol. . . 7 fluidounces Vanilla extract. . . 2 fluidounces Oil of lemon 20 drops Caramel 1 fluidounce Boil the capsicum with water for three hours, occasionally replacing the water lost by evaporation; filter, concentrate the filtrate on a hot water bath to the con- sistency of a thin extract, add the remain- ing ingredients, and filter. 108 BEVERAGES III. — Jamaica ginger, ground 12 ounces Lemon peel, fresh, cut fine 2 ounces Capsicum, powder 1 ounce ' Calcined magne- sia 1 ounce A|^°tolj„feach. sufficient Extract the mixed ginger and capsi- cum by percolation so as to obtain 16 fluidounces of water, set the mixture aside for 24 hours, shaking vigorously from time to time, then filter, and pass through the filter enough of a mixture of 2 vol- umes of alcohol and ] of water to make the filtrate measure 32 fluidounces. In the latter macerate the lemon peel for 7 days, and again filter. Ginger Beer. — Brown sugar 2 pounds Boiling water 2 gallons Cream of tartar 1 ounce Bruised ginger root.. . 2 ounces Infuse the ginger in the boiling water, add the sugar and cream of tartar; when lukewarm strain; then add half pint good yeast. Let it stand all night, then bot- tle; one lemon and the white of an egg may be added to fine it. Lem.onBeer. — Boiling water 1 gallon Lemon, sliced 1 Ginger, bruised 1 ounce Yeast 1 teacupful Sugar 1 pound Let it stand 12 to 20 hours, and it is ready to be bottled. Hop Beer. — Water 5 quarts Hops 6 ounces Boil 3 hours, strain the liquor, add: Water 5 quarts Bruised ginger 4 ounces and boil a little longer, strain, and add 4 pounds of sugar, and when milk- warm, 1 pint of yeast. Let it ferment; in 24 hours it is ready for bottling. (Enanthic Ether as a Flavoring for Ginger Ale.' — A fruity, vinous bouquet and delightful flavor are produced by the presence of oenanthic ether or brandy flavor in ginger ale. This ether throws off a rich, pungent, vinous odor, and gives a smoothness very agreeable to any liquor or beverage of which it forms a part. It is a favorite with "brandy sophisticators." Add a few drops of the ether (previously dissolved in eight times its bulk of Cologne spirit) to the ginger-ale syrup just before bottling. Soluble Extract of Ginger Ale.— Of the following three formulas the first is intended for soda-fountain use, the sec- ond is a "cheap" extract for the bottlers who want a one.-ounce-to-the-gallou ex- tract, and the third is a bottlers' extract to be used in the proportion of three ounces to a gallon of syrup. This latter is a most satisfactory extract and has been sold with most creditable results, both as to clearness of the finished ginger ale and delicacy of flavor. It will be noted that in these formulas oleoresin of ginger is used in addition to the powdered root. Those who do not mind the additional expense might use one-fourth of the same quantity of vola- tile oil of ginger instead. This should develop an excellent flavor, since the oil is approximately sixteen times as strong as the oleoresin, and has the additional advantage of being free from resinous extractive. The following are the formulas: I. — (To be used in the proportion of 4 ounces of extract ta 1 gallon of syrup.) Jamaica ginger, in fine powder 8 pounds Capsicum, in fine pow- aer 6 ounces Alcohol, a sufficient quantity. Mix the powders intimately, moisten them with a sufficient quantity of alco- hol, and set aside for 4 hours. Pack in a cylindrical percolator and percolate with alcohol until 10 pints of percolate have resulted. Place the percolate in a bottle of the capacity of 16 pints, and add to it 2 fluidrachms of oleoresin of ginger; shake, add 2J pounds of finely powdered pumice stone, and agitate thor- oughly at intervals of one-half hour for 12 hours. Then add 14 pints of water in quantities of 1 pint at each addition, shaking briskly meanwhile. This part of the operation is most important. Set the mixture aside for 24 hours, agitating It strongly every hour or so during that period. Then take Oil of lemon 1 J fluidounces Oil of rose (or ge- ranium) 3 fluidrachms Oil of bergamot .... 2 fluidrachms BEVERAGES 109 Oil of cinnamon .... 3 fluidraehms Magnesium carbon- ate 3 fluidounces Rub the oils with the magnesia in a large mortar and add 9 ounces of the clear portion of the ginger mixture to which have been previously added 2 ounces of alcohol, and continue tritu- ration, rinsing out the mortar with the ginger mixture. Pass the ginger mixture through a double filter and add through the filter the mixture of -oils and magnesia; finally pass enough water through the filter to make the resulting product measure 24 pints, or 3 gallons. If the operator should desire an extract of more or less pungency, he may obtain his de- sired effect by increasing or decreasing the quantity of powdered capsicum in the formula. II. — (To be used in the proportion of 1 ounce to 1 gallon of syrup.) Ginger, in moderately fine powder 6 pounds Capsicum, in fine pow- der 2} pounds Alcohol, a sufficient quantity. Mix, moisten the powder with 3 pints of alcohol, and set aside in a suitable vessel for 4 hours. Then pack the pow- der firmly in a cylindrical percolator, and percolate until 6 pints of extract are obtained. Set this mixture aside and label Percolate No. 1, and continue the percolation with IJ pints of alcohol mixed with 11 pints of water. Set the resultant tincture aside, and label Per- colate No. 2. Take oleoresin ginger 5 fluid ounces and add to Percolate No. 1. Then take: Oil of lemon 11 fluidounces Oil of cinnamon. . . 1 fluidounce Oil of geranium. ... J fluidounce Magnesium carbon- ate 8 ounces Triturate the oils with the magnesia, add gradually Percolate No. 2, and set aside. Then place Percolate No. 1 in a large bottle; add SJ pounds of finely pow- dered pumice stone, and shake at inter- vals of half an hour for six hours. This being completed, add the mixture of oils, and later 10 pints of water, in quantities of J a pint at a time, shaking vigorously after each solution. Let the mixture stand for 24 hours, shaking it at inter- vals, and then pass it through a double filter. Finally add enough water through the filter to make the product measure 24 pints, or 3 gallons. ni. — (To be used in proportion of 3 ounces to 1 gallon of syrup.) Ginger, in moderately fine powder 8 pounds Capsicum, in moder- ately fine powder . . 2 pounds Alcohol, q. s. Mix, moisten with alcohol, and set aside as in the preceding formula; then percolate with alcohol until 10 pints of extract are obtained. To this add oleo- resin of ginger 3 drachms, and place in a large bottle. Add 2 J pounds of pow- dered pumice stone, and shake as di- rected for formula No. 1. Then add 14 pints of water, in quantities of 1 pint at a time, shaking vigorously after each addi- tion. Set the mixture aside for 24 hours, shaking at intervals. Then take: Oil of lemon 11 fluidounces Oil of geranium ... j fluidounce Oil of cinnamon ... 3 fluidraehms Magnesia carbonate 3 ounces Rub these in a mortar with the mag- nesia, and add 9 ounces of the clear por- tion of the ginger mixture mixed with 2 ounces of alconol, rubbing the mixture until it becomes smooth. Prepare a double filter, and filter the ginger mix- ture, adding through the filter the mix- ture of oils and magnesia. Finally add enough water through the filter to make the final product measure 24 pints, or 3 gallons. If these formulas are properly manip- ulated the extracts should keep for a reasonable length of time without a pre- cipitate. If, however, a precipitate oc- cur after the extract has stood for a week, it should be refiltered. LEMONADES : Lemonade Preparations for the Sick.^ I. — Strawberry Lemonade: Citric acid, 6 parts; water, 100 parts; sugar, 450 parts; strawberry syrup, 600 parts; cherry syr- up, 300 parts; claret, 450 parts; aromatic tincture, ad lib. II. — Lemonade Powder: Sodium bi- carbonate, 65; tartaric acid, 60; sugar, 125; lemon oil, 12 drops. III. — Lemonade juice: Sugar syrup, 200; tartaric acid, 15; distilled water, 100; lemon oil, 3; tincture of vanilla, 6 drops. IV. — Lemonade Lozenges: Tartaric acid, 10; sugar, 30; gum arable, 2; pow- dered starch, 0.5; lemon oil, 6 drops; tincture of vanilla, 25 drops; and suffi- cient diluted spirit of wine so that 30 lozenges can be made with it. Lemonade for Diabetics. — The follow- ing is said to be useful for assuaging the thirst of diabetics : 110 BEVERAGES Citric acid 1 part Glycerine 50 parts Cognac 50 parts Distilled water 500 parts Hot Lemonade. — Take 2 large, fresh lemons, and wasli them clean with cold water. Roll them until soft; then divide each into halves, and use a lemon-squeez- er or reamer to express the juice into a small pitcher. Remove all the seeds from the juice, to which add 4 or more tablespoonfuls of white sugar, according to taste. A pint of boiling water is now added, and the mixture stirred until the sugar is dissolved. The beverage is very effective in producing perspiration, and should be drunk while hot. The same formula may be used for making cold lemonade, by substituting ice water for the hot water, and adding a piece of lemon peel. If desired, a weaker lemon- ade may be made by using more water. Lemonades, Lemon and Sour Drinks for Soda-Water Fountains. — Plain Lem- onade. — Juice of 1 lemon; pulverized sugar, 2 teaspoonf uls ; filtered water, suffi- cient; shaved ice, sufficient. Mix and shake well. Garnish with fruit, and serve with both spoon and straws. Huyler's Lemonade. — Juice of 1 lem- on; simple syrup, 2 ounces; soda water, sufiicient. Dress with sliced pineapple, and serve with straws. In mixing, do not shake, but stir with a spoon. Pineapple Leiaonade. — Juice of 1 lemon; pineapple syrup, 2 ounces; soda water, sufficient. Dress with fruit. Serve with straws. Seltzer Lemonade. — Juice of 1 lemon; pulverized sugar, 2 teaspoonfuls. Fill with seltzer. Dress with sliced lemon. Apollinaris Lemonade. — The same as seltzer, substituting apollinaris water for seltzer. Limeade. — Juice of 1 lime; pulverized sugar, 2 teaspoonfuls; water, sufficient. Where fresh limes are not obtainable, use bottled lime juice. Orangeade. — Juice of 1 orange; pul- verized sugar, 2 teaspoonfuls; water, sufficient; shaved ice, sufficient. Dress with sliced orange and cherries. Serve with straws. Seltzer and Lemon. — Juice of 1 lemon; seltzer, sufficient. Serve in a small glass. Claret Lemonade. — Juice of 1 lemon; I)ulverized sugar, 3 teaspoonfuls. Make emonade, pour into a, glass containing shaved ice until the glass lacks about one inch of being full. Pour in sufficient claret to fill the glass. Dress with cher- ries and sliced pineapple. Claret Punch. — Juice of 1 lemon; pul- verized sugar, 3 teaspoonfuls; claret wine, 2 ounces; shaved ice, sufficient. Serve in small glass. Dress with sliced lemon, and fruit in season. Bright red cherries and plums make attractive gar- nishings. Raspberry Lemonade. — I. — Juice of 1 lemon; 3 teaspoonfuls powdered sugar; 1 tablespoonful raspberry juice; shaved ice; plain water; shake. II. — Juice of 1 lemon; 2 teaspoonfuls powdered sugar; J ounce raspberry syrup; shaved ice; water; shake. Banjo Sour. — Pare a lemon, cut it in two, add a, large tablespoonful of sugar, then thoroughly muddle it; add the white of an egg; an ounce of sloe gin; 3 or 4 dashes of abricotine; shake well; strain into a goblet or fizz glass, and fill balance with soda; decorate with a slice of pineapple and cherry. Orgeat Punch. — Orgeat syrup, 12 drachms; brandy, 1 ounce; juice of 1 lemon. Granola. — Orange syrup, 1 ounce; grape syrup, 1 ounce; juice of J lemon; shaved ice, q. s. Serve with straws. Dress with sliced lemon or pineapple. American Lemonade. — One ounce or- ange syrup; 1 ounce lemon syrup; 1 tea- spoonful powdered sugar; 1 dash acid- phosphate solution; J glass shaved ice. Fill with coarse stream. Add slice of orange, and run two straws through it. Old -Fashioned Lemonade. — Put in a freezer and freeze almost hard, then add the fruits, and freeze very hard. Serve in a silver sherbet cup. "Ping Pong" Frappg.— Grape juice, unfermented, 1 quart; port wine (Cali- fornia), i pint; lemon syrup, 12 ounces; pineapple syrup, 2 ounces; orange syrup, 4 ounces; Benedictine cordial, 4 ounces; sugar, 1 pound. Dissolve sugar in grape juice and put in wine; add the syrup and cordial; serve from a punch bowl, with ladle, into 12-ounce narrow lemonade glass and fill with solid stream; garnish with slice of orange and pineapple, and serve with straw. Orange Frappg.— Glass half full of fine ice; tablespoonful powdered sugar; J ounce orange syrup; 2 dashes lemon syrup; dash prepared raspberry; J ounce BEVERAGES in acid-phosphate solution. Fill with soda and stir well; strain into a mineral glass and serve. Hot Lemonades. — I. — Lemon essence . . 4 fluidrachms Solution of citric acid 1 fluidounce Syrup, enough to make 32 fluiaounces In serving, draw 2i fluidounces of the syrup into an 8-ounce mug, fill with hot water, and serve with a spoon. II. — Lemon 1 Alcohol 1 fluidounce Solution of citric acid 2 fluidrachms Sugar 20 av. ounces Water 20 fluidounces White of 1 egg Grate the peel of .the lemon, macerate with the alconol for a day; express; also express the lemon, mix the two, add the sugar and water, dissolve by agitation, and add the solution of citric acid and the white of egg, the latter first beaten to a froth. Serve like the preceding. Egg Lemonade. — I. — Break 1 egg into a soda glass, add 1| ounces lemon syrup, a drachm of lemon juice, and a little shaved ice; then draw carbonated water to fill the glass, stirring well. II. — Shaved ice J tumblerful Powdered sugar 4 tablespoonfuls Juice of 1 lemon Yolk of 1 egg Shake well, and add carbonated water to fill the glass. HOT SODA-WATER DRINKS: Chocolate. — I. — This maybe prepared in two ways, from the powdered cocoa or from a syrup. To prepare the cocoa for use, dry mix with an equal quantity of pulverized sugar and use a heaping teaspoonful to a mug. To prepare a syrup, take 12 ounces of cocoa, 5 pints of water, and 4 pounds of sugar. Re- duce the cocoa to a smooth paste with a little warm water. Put on the fire. When the water becomes hot add the paste, and then allow to boil for 3 or 4 minutes; remove from fire and add the sugar; stir carefully while heating, to prevent scorching; when cold aod 3 drachms of vanilla; i to f ounce will suf- fice for a cup of chocolate; top off with whipped cream. II.— Baker's fountain choc- olate 1 pound Syrup 1 gallon Extract vanilla enough Shave the chocolate into a gallon por- celained evaporating dish and melt with a gentle heat, stirring with a thin-bladed spatula. When melted remove from the fire and add 1 ounce of cold water, mix- ing well. Add gradually 1 gallon of hot syrup and strain; flavor to suit. Use 1 ounce to a mug. III.— Hot Egg Chocolate.— Break a fresh egg into a soda tumbler; add IJ ounces chocolate syrup and 1 ounce cream; shake thoroughly, add hot soda slowly into the shaker, stirring mean- while; strain carefully into mug; top off with whipped cream and serve. IV.— Hot Chocolate and Milk.— Chocolate syrup .... 1 ounce Hot milk 4 ounces Stir well, fill mug with hot soda and serve. V. — Hot Egg Chocolate. — One egg, 11 ounces chocolate syrup, 1 teaspoonful sweet cream; shake, strain, add 1 cup hot soda, and 1 tablespoonful whipped cream. Coffee. — I. — Make an extract by mac- erating 1 pound of the best Mocha and Java with 8 ounces of water for 20 min- utes, then add hot water enough to per- colate 1 pint. One or 2 drachms of this extract will make a delicious cup of cof- fee. Serve either with or without cream, and let customer sweeten to taste. II. — Pack i pound of pulverized cof- fee in a percolator. Percolate with 2 quarts of boiling water, letting it run through twice. Add to this 2 quarts of milk; Keep hot in an urn and draw as a finished drink. Add a, lump of sugar and top off with whipped cream. III. — Coffee syrup may be made by adding boiling water from the apparatus to 1 pound of coffee, placed in a suitable filter or coffeepot, until 2 quarts of the infusion are oDtained. Add to this 3 pounds of sugar. In dispensing, first put sufficient cream in the cup, add the coffee, then sweeten, if necessary, and mix with the stream from the draught tube. IV. — Mocha coffee (ground fine) 4 ounces Java coffee (ground fine) 4 ounces Granulated sugar 6 pounds Hot water q. s. Percolate the coffee with hot water un- til the percolate measures 72 ounces. Dissolve the sugar in the percolate by agitation without heat and strain. Hot Egg Orangeade. — One egg; juice 112 BEVERAGES of i orange; 2 teaspoonfuls powdered sugar. Shake, strain, add 1 cup of hot water. Stir, serve with nutmeg. Hot Egg Bouillon. — One-half ounce liquid extract beef; 1 egg; salt and pep- per; hot water to fill 8-ounce mug. Stir extract, egg, and seasoning together; add water, still stirring; strain and serve. Hot Celery Punch. — One - quarter ounce of clam juice; } ounce beef extract; 1 ounce of cream; 4 dashes of celery es- sence. Stir while adding hot water, and serve with spices. Chicken Bouillon. — Two ounces con- centrated chicken; J ounce sweet cream and spice. Stir while adding hot water. Ginger. — Fluid extract of ginger 2 J ounces Sugar 40 ounces Water, to 2i pints Take 10 ounces of the sugar and mix with the fluid extract of ginger; heat on the water bath until the alcohol is evap- orated. Then mix with 20 ounces of water and shake till dissolved. Filter and add the balance of the water and the sugar. Dissolve by agitation. Cocoa Syrup. — I. — Cocoa, light, soluble. 4 ounces Granulated sugar. .. . 2 pounds Boiling hot water. ... 1 quart Extract vanilla 1 ounce Dissolve the cocoa in the hot water, by stirring, then add the sugar and dissolve. Strain, and when cold add the vanilla extract. II. — Cocoa syrup 2 ounces Cream 1 ounce Turn on the hot water stream and stir while filling. Top off with whipped *ream. Hot Soda Toddy.— Lemon juice 2 fluidrachms Lemon syrup 1 fluidounce Aromatic bitters .... 1 fluidrachm Hot water, enough to fill an 8-ounce mug. Sprinkle with nutmeg or cinnamon. Hot Orange Phosphate. — Orange syrup 1 fluidounce Solution of acid phosphate 1 fluidrachm Hot water, enough to fill an 8-ounce mug. It is prepared more accepfabl,- hy mix- ing the juice of half an orange with acid phosphate, sugar, and hot water. Pepsin Phosphate. — One teaspoonful of liquid pepsin; 2 dashes of acid phos- phate; 1 ounce of lemon syrup; 1 cup hot water. Cream Beef Tea. — Use 1 teaspoonful of liquid beef extract in a mug of hot water, season with salt and pepper, then stir in a tablespoonful of rich cream. Put a teaspoonful of whipped cream on top and serve with flakes. Cherry Phosphate. — Cherry-phosphate syrup, li ounces; hot water to make 8 ounces. Cherry-phosphate syrup is made as follows: Cherry juice, 3 pints; sugar, 6 pounds; water, 1 pint; acid phosphate, 4 ounces. Bring to a boil, and when cool add the acid phosphate. Celery Clam Punch. — Clam juice, 2 drachms; beef extract, 1 drachm; cream, 1 ounce; essence of celery, 5 drops; hot water to make 8 ounces. Claret Punch. — Claret wine, 2 ounces; sugar, 3 teaspoonfuls; juice of J lemon; hot water to make 8 ounces. Ginger. — Extract of ginger, 2 drachms; sugar, 2 drachms; lemon juice, 2 dashes; hot water to make 8 ounces. Lemon Juice, Plain. — Fresh lemon juice, 2i drachms; lemon syrup, 1 ounce; hot water, q. s. to make 8 ounces. Lime Juice. — Lime juice, f drachm; lemon syrup, 1 ounce; hot water to make 8 ounces. Mix. Eberle remarks that lemon juice or lime juice enters into many combinations. In plain soda it may be combined with ginger and other flavors, as, for instance, chocolate and coffee. Lemonade. — Juice of 1 lemon; pow- dered sugar, 2 teaspoonfuls; hot water to make 8 ounces. A small piece of fresh lemon peel twisted over the cup lends an added flavor. Hot Malt.— Extract of malt, 1 ounce; cherry syrup, 1 ounce; hot water, suffi- cient to make 8 ounces. Mix. Malted Milk.— Horlick's malted milk, 2 tablespoonfuls; hot water, quantity sufficient to make 8 ounces; flavoring to suit. Mix. Essence of coffee, choco- late, etc., and many of the fruit syrups go well with malted milk. Hot Malted Milk Coffee (or Chocolate). —Malted milk, 2 teaspoonfuls; coffee (or chocolate) syrup, 1 ounce; hot water, quantity sufficient to make 8 ounces. Hot Beef Tea. —I. —Best beef extract, 1 tablespoonful; sweet cream, 1 ounce; hot BEVERAGES 113 water, 7 ounces; pepper, salt, etc., quan- tity sufficient. Mix. II. — Extract beef bouillon, 1 teaspoon- ful; extract aromatic soup herbs (see Condiments), 10 drops; hot soda, 1 cup- ful. Mix. III. — Extract of beef 1 teaspoonful • ' Hot water q. s. Pepper, salt, and celery salt. . Mix. Hot Bouillon. — Beef extract 1 ounce Hot water, q. s. to make 8 ounces Pepper, salt, etc q. s. Mix. Clam Bouillon. — I. — Clam juice 12 drachms Cream 2 ounces Hot water, q. s. to make 8 ounces Mix. II. — Extract clam bouillon 2 ounces Prepared milk 2 drachms Extract of aromatic soup herbs 5 drops Extract white pepper. . 5 drops Hot soda 1 cupful Mix. III. — Clam juice may be served with hot water, salt and pepper added. Add- ing butter makes this bouillon a broth. It may also be served with milk or cream, lemon juice, tomato catsup, etc. Hot oyster juice may be served in the same way. Hot Tea.— I. — Tea syrup sufficient Hot water, q. s. to make 1 cupful II. — Loaf sugar 4 cubes Extract of Oolong tea, about 1 dessertsp'ful Prepared milk, about 1 dessertsp'ful Hot soda 1 cupful Whipped cream. . . 1 tablespoonful Mix the tea extract, sugar, and pre- pared milk, pour on water, and dissolve. Top off with whipped cream. Hot Egg Drinks.— I.— One-half to 1 ounce liquid extract of beef, 1 egg, salt and pepper to season, hot water to fill an 8-ounce mug. Stir the extract, egg, and seasoning together with a spoon, to get well mixed, add the water, stirring brisk- ly meanwhile; then strain, and serve. Or shake the egg and extract in a shaker, add the water, and mix by pouring back and forth several times, from shaker to mug. II.— Hot Egg Chocolate.— One to IJ ounces chocolate syrup, 1 egg, J ounce cream, hot water sufficient to fill an 8-ounce mug. Mix the syrup, egg, and cream to- gether in an egg-shaker; shake as in making cold drinks; add the hot water, and mix all_ by pouring back and forth several times, from shaker to mug. Or, prepare by beating the egg with a spoon, add the syrup and cream, mix all quickly with the spoon, and add hot water, stirring constantly, and strain. III.— Hot Egg Coffee.— One egg, 1 dessertspoonful extract of coffee, 1 tea- spoonful sweet cream, 1 ounce syrup. Shake well, strain, and add 1 cupful hot water and top with whipped cream. IV. — Hot Egg Lemonade.^One egg, juice of 1 lemon, 3 teaspoonf uls powdered sugar. Beat the egg with lemon juice and sugar thoroughly. Mix while add- ing the water. Serve grated nutrneg and cinnamon. The amount of lemon juice and sugar may be varied to suit different tastes. V. — Hot Egg Milk. — Two teaspoon- fuls sugar, 1 ounce cream, 1 egg, hot milk to fill an 8-ounce mug. Prepare as in hot egg chocolate, top with whipped cream, and sprinkle with nutmeg. If there are no facilities for keeping hot milk, use about 2 ounces of cream, and fill mug with hot water. VI. — ^Hot Egg Nogg. — Plain syrup, f ounce; brandy, J ounce; Angostura bitters, 3 drops; 1 egg. Put in shaker and beat well. Strain in 10-ounce mug, and fill with hot milk; finish with whipped cream and nutmeg. VII. — Hot Egg Phosphate.— Two ounces lemon syrup, 1 egg, J ounce solu- tion of acid phosphate. Mix in a glass, and shake together thoroughly; pour in- to another glass, heated previously, and slowly draw full of hot water; season with nutmeg. VIII.— Hot Egg Phosphate.— Break fresh egg into shaker and add J ounce pineapple syrup, J ounce orange syrup, 1 dash phosphate. Shake, without ice, and pour into bouillon cup. Draw cup- ful of hot water, sprinkle a touch of cin- namon, and serve with wafers. FANCY SODA DRINKS: Coffee Cream Soda. — Serve in a 12- ounce glass. Draw IJ ounces of syrup and 1 ounce of cream. Into the shaker draw 8 ounces of carbonated water, pour into the glass sufficient to fill it to within 114 BEVERAGES 1 inch of the top; pour from glass to shaker and back, once or twice, to mix thoroughly; give the drink a rich, creamy appearance, and make it cream suffi- ciently to fill the glass. Iced Coffee. — Serve in a 10-ounce glass. Draw 1 ounce into glass, fill nearly full with ice-cold milk, and mix by' stirring. Egg Malted Milk Coffee. — Prepare same as malted milk coffee, with the ex- ception of adding the egg before shaking, and top off with a little nutmeg, if de- sired. This drink is sometimes called coffee light lunch. Coffee Frappfi. — Serve in a 12-ounce glass. Coffee syrup, IJ ounces; white of 1 egg; 1 to IJ ounces of pure, rich, sweet cream; a small portion of fine shaved ice; shake thoroughly to beat the white of the egg light, and then remove the glass, leaving the contents in the shaker. Now fill the shaker two-thirds full, usihg the fine stream only. Draw as quickly as possible that the drink may be nice and light. Now pour into glass and back, and then strain into a dean glass. Serve at once, and without straws. This should be drunk at once, else it will settle, and lose its lightness and richness. Cofiee Nogg. — Coffee syrup 2 ounces Brandy 4 drachms Cream 2 ounces One egg. Coffee Cocktail. — Coffee syrup 1 ounce One egg. Port wine 1 ounce Brandy 2 drachms Shake, strain into a small glass, and add soda. Mace on top. Chocolate and Milk. — Chocolate syrup 2 ounces Sweet milk, sufficient. Fill a glass half full of shaved ice, put in the syrup, and add milk until the glass is almost full. Shake well, and serve without straining. Put whipped cream on top and serve with straws. Chocolate Frapp€. — Frozen whipped cream, sufficient. Shaved ice, sufficient. Fill a glass half full of frozen whipped cream, fill with shaved ice nearly to the top, and pour in chocolate syrup. Other syrups may be used, if desired. Royal Frappg. — This drink consists of 3 parts black coffee and 1 part of brandy, frozen in a cooler, and served while in a semifrozen state. Mint Julep. — One-half tumbler shaved ice, teaspoonful powdered sugar, dash lemon juice, 2 or 3 sprigs of fresh mint. Crush the mint against side of the glass to get the flavor. Then add claret syrup, i ounce; raspberry syrup, 1 J ounces; and draw carbonated water nearly to fill glass. Insert bunch of mint and fill glass, leaving full of shaved ice. Serve with straws, and decorate with fruits of the season. Grape Glace. — Beat thoroughly the whites of 4 eggs and stir in 1 pound of powdered sugar, then add 1 pint grape juice, 1 pint water, and 1 pound more of powdered sugar. Stir well until sugar IS dissolved, and serve from a pitcher or glass dish, with ladle. "Golf Goblet."— Serve in a 12-ounce glass; fill two-thirds full of cracked ice, add i ounce pineapple juice, 1 teaspoon- ful lemon juice, 1 teaspoonful raspberry vinegar. Put spoon in glass, and fill to within one-half inch of top with carbon- ated water; add shaved ice, heaping full. Put strawberry or cherry on top, and stick slice of orange down side of glass. Serve with spoon and straws. Goldenade. — Shaved ice, J tumbler- ful; powdered sugar; juice of 1 lemon; yolk of 1 egg. Shake well, add soda water from large stream, turn from tum- bler to shaker, and vice versa, several times, and strain through julep strainer into a 12-ounce tumbler. Lunar Blend.— Take two mixing glasses, break an egg, putting the yolk in one glass, the white into the other; into the glass with the yolk add 1 ounce cherry syrup and some cracked ice; shake, add small quantity soda, and strain into a 12-ounce glass. Into the other mixing glass add 1 ounce plain sweet cream, and beat with bar spoons until well whipped; add J ounce lemon syrup, then transfer it into the shaker, and add soda from fine stream only, and float on top of the one containing the yolk and sherry. Serve with two straws. Egg Chocolate.— Chocolate syrup 2 ounces Cream 4 ounces White of one egg. BEVERAGES 115 Egg Crime de ^enthe. — Mint syrup 12 drachms Cream 8 ounces White of one egg. Whisky 4 draclims Egg Sherbet.— Sherry syrup 4 drachms Pineapple syrup 4 drachms Raspberry syrup 4 drachms One egg. Cream. Egg Claret.— Claret syrup 2 ounces Cream 3 ounces One egg. Royal Mist. — Orange syrup 1 ounce Catawba syrup 1 ounce Cream 2 ounces One egg. Banana Cream. — Banana syrup. 12 drachms Cream 4 ounces One egg. Egg Coffee. — Coffee syrup 2 ounces Cream 3 ounces One egg. Shaved ice. Cocoa Mint. — Chocolate syrup 1 ounce Peppermint syrup. ... 1 ounce White of one egg. Cream 2 ounces The peppermint syrup is made as fol- lows: Oil of peppermint. . . 30 minims Syrup simplex 1 gallon Soda foam 1 ounce Egg Lemonade. — Juice of one lemon. Pulverized sugar 3 teasp'fuls One egg. Water, q. s. Shake well, using plenty of ice, and serve in a small glass. ITadjy. — Raspberry juice 1 ounce Pineapple syrup 1 ounce One egg. Cream 2 ounces Siberian Flip. — Orange syrup 1 ounce Pineapple syrup 1 ounce One egg. Cream 2 ounces Egg Orgeat.— Orgeat syrup 12 drachms Cream 3 ounces One egg. Iformona. — Peach syrup 1 ounce Grape syrup 1 ounce Cream 3 ounces Brandy 2 drachms One egg. Silver Fizz. — Catawba syrup 2 ounces Holland gin 2 drachms Lemon juice 8 dashes White of one egg. Golden Fizz. — Claret syrup 2 ounces Holland gin J ounce Lemon juice 8 dashes Yolk of one egg. Rose Cream. — Rose syrup 12 drachms Cream 4 ounces White of one egg. Violet Cream. — Violet syrup 12 drachms Cream 4 ounces White of one egg. Rose Mint. — Rose syrup 6 drachms Mint syrup 6 drachms Cream 3 ounces White of one egg. Currant Cream. — Red-currant syrup. . . 2 ounces Cream 3 ounces One egg. Quince Flip. — Quince syrup 2 ounces Cieam 3 ounces One egg. Shaved ice. Coffee Wogg.— Coffee syrup 2 ounces Brandy 4 drachms Cream 2 ounces One egg. Egg Sour. — Juice of one lemon. Simple syrup 12 drachms One egg. Shake, strain, and fill with soda. Mace on top. 116 BEVERAGES Lemon Sour. — Lemon syrup 12 drachms Juice of one lemon. One egg. Raspberry Sour.— Raspberry syrup 12 drachms One egg. Juice of one lemon. Yama. — One egg. Cream 2 ounces Sugar 2 teaspoonfuls Jamaica rum J ounce Shake well, put into cup, and add hot water. Serve with whipped cream, and sprinkle mace on top. Prairie Oyster. — Cider vinegar 2 ounces One egg. Put vinegar into glass, and break into it the egg. Season with salt and pepper. Serve without mixing. Fruit Frappg. — Granulated gelatin. . . 1 ounce Juice of six lemons. Beaten whites of two eggs. Water 5 quarts Syrup 1 quart Maraschino cherries. . 8 ounces Sliced peach 4 ounces Sliced pineapple 4 ounces Whole strawberries. . . 4 ounces Sliced orange 4 ounces Dissolve the gelatin in 1 quart boiling hot water; add the syrup and the balance of the water; add the whites of the eggs and lemon juice. KOUMISS. The original koumiss is the Russian, made from mare's milk, while that pro,- duced in this country and other parts of Europe is usually, probably always, made from cow's milk. For this reason there is a difference in the preparation which may or may not be of consequence. It has been asserted that the ferment used in Russia differs from ordinary yeast, but this has not been established. In an article on this subject, contrib- uted by D. H. Davies to the Pharma- ceutical Journal and Transactions, it is pointed out that mare's milk contains less casein and fatty matter than cow's milk, and he states that it is "therefore far more easy of digestion." He thinks that cow's milk yields a better prepara- tion when diluted with water to reduce the percentage of casein, etc. He pro- poses the following formula: Fresh milk 12 ounces Water 4 ounces Brown sugar 150 grains Compressed yeast. . . 24 grains Milk sugar 3 drachms Dissolve the milk sugar in the water, add to the milk, rub the yeast and brown sugar down in a mortar with a little of the mixture, then strain into the other portion. Strong bottles are very essential, cham- pagne bottles being frequently used, and the corks should fit tightly; in fact, it is almost necessary to use a bottling ma- chine for the purpose, and once the cork is properly fixed it should be wired down. Many failures have resulted because the corks did not fit properly, the result being that the carbon dioxide escaped as formed and left a worthless preparation. It is further necessary to keep the prepa- ration at a moderate temperature, and to be sure that the article is properly fin- ished the operator should gently shake the bottles each day for about 10 min- utes to prevent the clotting of the casein. It is well to take the precaution of rolling a cloth around the bottle during the shaking process, as the amount of gas generated is great, and should the bottle be weak it might explode. Kogelman says that if 1 volume of buttermilk be mixed with 1 or 2 vol- umes of sweet milk, in a, short time lively fermentation sets in, and in about 3 days the work is completed. This, ac- cording to the author, produces a wine- scented fluid, rich in alcohol, carbon dioxide, lactic acid, and casein, which, according to all investigations yet made, is identical with koumiss. The follow- ing practical hints are given for the pro- duction of a good article: The sweet milk used should not be entirely freed from cream; the bottles should be of strong glass; the fermenting milk must be in- dustriously shaken by the operator at least 3 times a day, and then the cork put in firmly, so that the fluid will become well charged with carbon-dioxide gas ; the bottles must be daily opened and at least twice each day brought nearly to a horizontal position, in order to allow the carbon dioxide to escape and air to enter; otherwise fermentation rapidly ceases. If a drink is desired strong in carbonic acid, the bottles, toward the end of fer- mentation, should be placed with the necks down. In order to ferment a fresh quantity of milk, simply add J of its volume of either actively fer- menting or freshly fermented milk.' The temperature should be from 50° to 60° F., about 60° being the most favorable. BEVERAGES 117 Here are some miscellaneous formulas: 1. — Fill a quart champagne bottle up to the neck with pure milk; add 2 ta- blespoonfuls of' white sugar, after dis- solving the same in a little water over a hot fire; add also a quarter of a 2-cent cake of compressed yeast. Then tie the cork in the bottle securely, and shake the mixture well; place it in a room of the temperature of 50° to 95° F. for 6 hours, and finally in the ice box oVer night. Haadle wrapped in a towel as protection if the bottle should burst. Be sure that the milk is pure, that the bottle is sound, that the yeast is fresh, to open the mixture in the morning with great care, on account of its effervescent properties; and be sure not to drink it at all if there is any curdle or thickening part resembling cheese, as this indicates that the fermentation has been prolonged beyond the proper time. II. — Dilute the milk with J part of hot water, and while still tepid add J of very sour (but otherwise good) but- termilk. Put it into a wide jug, cover with a clean cloth, and let stand in a warmish place (about 75° F.) for 24 hours; stir up well, and leave for an- other 24 hours. Then beat thoroughly together, and pour from jug to jug till perfectly smooth and creamy. It is now "still" koumiss, and may be drunk at once. To make it sparkling, which is generally preferred, put it into cham- pagne or soda-water bottles; do not quite fill them, secure the 'corks well, and lay them in a cool cellar. It will then keep for 6 or 8 weeks, though it becomes increasingly acid. To ma- ture some for drinking quickly, it is as well to keep a bottle or two to start with in some warmer place, and from time to time shake vigorously. With this treat- ment it should, in about 3 days, be- come sufficiently effervescent to spurt freely through a champagne tap, which must be used for drawing it off as re- quired. Later on, when very frothy and acid it is more pleasant to drink if a little sweetened water (or milk and wa- ter) is first put into the glass. Shake the bottle, and hold it inverted well into the tumbler before turning the tap. Having made one lot of koumiss as above you can use some of that instead of buttermilk as a ferment for a second lot, and so on 5 or 6 times in succession; after which it will be found advisable to begin again as at first. Mare's milk is the best for koumiss; then ass's milk. Cow's milk may be made more like them by adding a little sugar of milk (or even loaf sugar) with the hot water before fer- menting. But perhaps the chief draw- back to cow's milk is that the cream separates permanently, whereas that of mare's milk will remix. Hence use par- tially skimmed milk; for if there is much cream it only forms little lumps of butter, which are apt to clog the tap, or are left behind in the bottle. Kwass. — Kwass is a popular drink among the Russian population of Kun- zews, prepared as follows: In a big kettle put from 13 to 15 quarts of water, and bring to a boil, and when in active ebul- lition pour in 500 grams of malt. Let boil for 20 minutes, remove from the fire, let cool down, and strain off. The liquid is now put into a clean keg or barrel, 30 grams (about an ounce) of best compressed yeast added along with about 600 ^rams (20 ounces) of sugar, and the cask is put in a warm place to ferment. As soon as bubbles of carbonic gas are de- tected on the surface of the liquid, it is a signal that the latter is ready for bottling. In each of the bottles, which should be strong and clean, put one big raisin, fill, cork, and wire down. The bottles should be placed on the side, and in the coolest place available — best, on ice. The liquor is ready for drinking in from 2 to 3 days, and is said to be most pal- atable. " Braga." — Braga is a liquid of milky turbidity, resembling cafe au lait in color, and forming a considerable pre- cipitate if left alone. When shaken it sparkles and a little gas escapes. Its taste is more or less acid, possessing a pleasant fiavor. About 35 parts of crushed millet, to which a little wheat flour is added, are placed in a large kettle. On this about 400 parts of water are poured. The mixture is stirred well and boiled for 3 hours. After settling for 1 hour the lost water is renewed and the boiling con- tinued for another 10 hours. A viscous mass remains in the kettle, which sub- stance is spread upon large tables to cool. After it is perfectly cool, it is stirred with water in a wooden trough and left to ferment for 8 hours. This pulp is sifted, mixed with a little water, and after an hour the braga is ready for sale. The taste is a little sweetish at first, but becomes more and more sourish in time. Fermentation begins only in the trough. WINTER BEVERAGES : Campchello. — Thoroughly beat the yolks of 12 fresh eggs with 2J pounds finely powdered, refined sugar, the juice 118 BEVERAGES of 3 lemons and 2 oranges, and 3 bottles of Graves or other white wine, over the fire, until rising. Remove, and slowly beat 1 bottle of Jamaica rum with it. Egg Wine. — Vigorously beat 4 whole eggs and the yolks of 4 with J pound of fine sugar; next add 2 quarts of white wine and beat over a moderate fire until rising. Bavaroise au Cognac. — ^Beat up the yolks of 8 eggs in 1 quart of good milk over the fire, until boiling, then quickly add 5 ounces of sugar and J quart of fine cognac. Bavaroise au Caf€. — Heat 1 pint of strong coffee and 1 pint of milk, 5 ounces of sugar, and the yolks of 8 eggs, until boiling, then add -^ quart of Jamaica rum. Carbonated Pineapple Champagne. — Plain syrup, 42° 10 gallons Essence of pineapple 8 drachms Tincture of lemon. . . 5 ounces Carbonate of magne- sia 1 ounce Liquid saffron 2J ounces Citric-acid solution. . 30 ounces Caramel 2 J ounces Filter before adding the citric-acid so- lution and limejuice. Use 2 ounces to each bottle. A German Drink. — To 100 parts of water add from 10 to 15 parts of sugar, dissolve and add to the syrup thus formed an aqueous extract of 0.8 parts of green or black tea. Add fresh beer or brew- ers' yeast, put in a warm place and let ferment. When fermentation has pro- gressed to a certain point the liquid is cleared, and then bottled, corked, and the corks tied down. The drink is said to be very pleasant. Limejuice Cordial. — Limejuice cor- dial that will keep good for any length of time may be made as follows: Sugar, 6 pounds; water, 4 pints; citric acid, 4 ounces; boric acid, J ounce. Dissolve by the aid of a gentle heat, and when cold add refined limejuice, 60 ounces; tinc- ture of lemon peel, 4 ounces; water to make up to 2 gallons, and color with car- amel. Summer Drink. — Chopped ice 2 tablespoonfuls Chocolate syrup . . 2 tablespoonfuls Whipped cream ... 3 tablespoonfuls Milk J cup Carbonated water. | cup Shake or stir well before drinking. A tablespoonful of vanilla ice cream is a desirable addition. A plainer drink is made by combining the syrup, J cup of milk, and the ice, and shaking well. American Champagne. — Good cider (crab-apple cider is the best), 7 gal- lons; best fourth-proof brandy, 1 quart; genuine champagne wine, 5 pints; milk, 1 gallon; bitartrate of potassa, 2 ounces. Mix, let stand a short time; bottle while fermenting. An excellent imitation. British Champagne. — Loaf sugar, 56 pounds; brown sugar (pale), 48 pounds; water (warm), 45 gallons; white tartar, 4 ounces; mix, and at a proper temperature add yeast, 1 quart; and afterwards sweet cider, 5 gallons; bruised wild cherries, 14 or 15 ounces; pale spirits, 1 gallon; orris powder, J ounce. Bottle while fermenting. Champagne Cider. — Good pale cider, 1 hogshead; spirits, 3 gallons; sugar, 20 pounds; mix, and let it stand one fortnight; then fine with skimmed milk, J gallon; this will be very pale, and a similar article, when properly bottled and labeled, opens so briskly that even good judges have mistaken it for genuine champagne. BEER: Scotch Beer. — Add 1 peck malt to 4 gallons of boiling water and let it mash for 8 hours, and then strain, and in the strained liquor boil: Hops 4 ounces Coriander seeds 1 ounce Honey 1 pound Orange peel 2 ounces Bruised ginger 1 ounce Boil for half an hour, then strain and ferment in the usual way. Hop Bitter Beer. — Coriander seeds 2 ounces Orange peel 4 ounces Ginger 1 ounce Gentian root J ounce Boil in 5 gallons of water for half an hour, then strain and put into the liquor 4 ounces hops and 3 pounds of sugar, and simmer for 15 minutes, then add sufficient yeast, and bottle when ready. Sarsaparilla Beer.— I.— Compound ejx- tract of sarsaparilla, 1 J ounces; hot water, 1 pint; dissolve, and when cold, add of good pale or East India ale, 7 pints. II- — Sarsaparilla (sliced), 1 pound; guaiacum bark (bruised small), i pound; guaiacum wood (rasped) and licorice root (sliced), of each, 2 ounces; aniseed (bruised), 1| ounces; mezereon root- BEVERAGES 119 bark, 1 ounce ; cloves (cut small), J ounce; moist sugar, 31 pounds; hot water (not boiling), 9 quarts; mix in a clean stone jar, and keep it in a moder- ately warm room (shaking it twice or thrice daily) until active fermentation sets in, then let it repose tor about a week, when it will be ready for use. This is said to be superior to the other prepara- tions of sarsaparilla as an alterative or purifier of the blood, particularly in old affections. That usually made has generally only J of the above quan- tity of sugar, for which molasses is often substituted; but in either case it will not keep well; whereas, with proper caution, the products of the above formulas may be kept for 1 or even 2 years. No yeast must be used. Dose: A small tumblerful 3 or 4 times a day, or oftener. Spruce Beer. — I. — Sugar, 1 pound; essence of spruce, J ounce; boiling water, 1 gallon; mix well, and when nearly cold add of yeast i wineglassful; and the next day bottle like ginger beer. II. — Essence of spruce, J pint; pi- mento and ginger (bruised), of each, 5 ounces; hops, J pound; water, 3 gallons; boil the whole for 10 minutes, then add of moist sugar, 12 pounds (or good mo- lasses, 14 pounds); warm water, 11 gal- lons; mix well, and, when only luke- warm, further add of yeast, 1 pint; after the liquid has fermented for about 24 hours, bottle it. This is diuretic and antiscorbutic. It is regarded as an agreeable summer drink, and often found useful during long sea voyages. When made with lump sugar it is called White Spruce Beer; when with moist sugar or treacle. Brown Spruce Beer. An inferior sort is made by using less sugar or more water. TreacIe'Beer. — I. — From treacle or mo- lasses, } to 2 pounds per gallon (accord- ing to the desired strength) ; hops, } to | ounce; yeast,, a tablespoonful; water, q. s.; treated as below. II. — Hops, IJ pounds; corianders, 1 ounce; capsicum pods (cut small), J ounce; water, 8 gallons; boil for 10 or 15 minutes, and strain the liquor through a coarse sieve into a barrel con- taining treacle, 28 pounds; then throw back the hops, etc., into the copper and reboil them, for 10 minutes, with a second 8 gallons of water, which must be strained into the barrel, as before; next "rummage" the whole well with a stout stick, add of cold water 21 gallons (suf- ficient to make the whole measure 37 gallons), and, again after mixing, stir in J pint of good fresh yeast; lastly, let it remain for 24 hours in a moderately warm place, after which it may be put into the cellar, and in 2 or 3 days bottled or tapped on draught. In a week it will be fit to drink. For a stronger beer, 36 pounds, or even half a hundredweight of molasses may be used. It will then keep good for a twelvemonth. This is a wholesome drink, but apt to prove laxa- tive when taken in large quantities. Weiss Beer. — This differs from the ordinary lager beer in that it contains wheat malt. The proportions are f wheat to J barley malt, 1 pound hops being used with a peck of the combined malt to each 20 gallons of water. A good deal depends on the yeast, which must be of a special kind, the best grades being imported from Germany. Yellow Coloring for Beverages. — The coloring agents employed are fustic, saf- fron, turmeric, quercitron, and the va- rious aniline dyes. Here are some for- mulas : I.— Saffron 1 ounce Deodorized alco- hol 4 fluidounces Distilled water . .. 4 fluidounces Mix alcohol and water, and then add the saffron. Allow the mixture to stand in a warm place for several days, shaking occasionally; then filter. The tincture thus prepared has a, deep orange color, and when diluted or used in small quan- tities gives a beautiful yellow tint to syrups, etc. II. — Ground fustic wood 1 J ounces Deodorized alco- hol 4 fluidounces Distilled water .. . 4 fluidounces This color may be made in the same manner as the liquid saffron, and is a fine coloring for many purposes. III. — Turmeric powder. ... 2 ounces Alcohol, dilute 16 ounces Macerate for several days, agitating frequently, and filter. For some bev- erages the addition of this tincture is not to be recommended, as it possesses a very spicy taste. The nonpoisonous aniline dyes rec- ommended for coloring confectionery, beverages, liquors, essences, etc., yellow are those known as acid yellow R and tropaeolin 000 (orange I). BICYCLE-TIRE CEMENT: See Adhesives, under Rubber Cements. BICYCLE VARNISHES: See Varnishes. 120 BLEACHING BIDERY METAL: See Alloys. BILLIARD BALLS : See Ivory and Casein. BIRCH BALSAM: See Balsam. BIRCH WATER: See Hair Preparations. BIRD DISEASES AND THEIR REM- EDIES: See Veterinary Formulas. BIRD FOODS : See also Veterinary Formulas. Mixed Birdseed. — Canary seed 6 parts Rape seed 2 parts Maw seed 1 part Millet seed 2 parts Mocking-Bird Food. — Cayenne pepper .... 2 ounces Rape seed 8 ounces Hemp seed 16 ounces Corn meal 2 ounces Rice 2 ounces Cracker 8 ounces Lard oil 2 ounces Mix the solids, grinding to a coarse powder, and incorporate t£e oil. Food for Redbirds. — Sunflower seed 8 ounces Hemp seed 16 ounces Canary seed 10 ounces Wheat 8 ounces Rice 6 ounces Mix and grind to coarse powder. BIRD LIME: See Lime. BIRD PASTE: See Canary-Bird Paste. BISCHOFF : See Wines and Liquors. BISCUIT, DOG: See Dog Biscuit. BISMUTH ALLOYS: See Alloys. BISMUTH, PURIFICATION OF: See Gold. BITTERS : See Wines and Liquors. BITTER WATER: See Waters. BLACKING FOR HARNESS: See Leather. BLACKING FOR SHOES: See Shoedressings. BLACKING, STOVE: See Stove Blackings and Polishes. BLACKBERRY CORDIAL AND BLACK- BERRY MIXTURE AS A CHOL- ERA REMEDY: See Cholera Remedy. BLACKBOARD PAINT AND VARNISH : See Paint and Varnish. BLACKHEAD REMEDIES: See Cosmetics. BLANKET WASHING: See Household Formulas. BLASTING POWDER: See Explosives. Bleaching Linen. — Mix common bleaching pow- der in the proportion of 1 pound to a gallon of water; stir it occasionally for 3 days, let it settle, and pour it off clear. Then make a lye of 1 pound of soda to 1 gallon of boiling water, in which soak the linen for 12 hours, and boil it half an hour; next soak it in the bleaching liquor, made as above; and lastly, wash it in the usual manner. Discolored linen or muslin may be restored by put- ting a portion of bleaching liquor into the tub wherein the articles are soaking. Stravy. — I. — Dip the straw in a solution of oxygenated muriatic acid, saturated with potash. (Cxyerenated muriate of lime IS much cheaper.) The straw is thus rendered very white, and its flexi- bility is increased. II. — Straw is bleached by simply ex- posing it in a closed chamber to the fumes of burning sulphur. An old flour barrel is the apparatus most used for the purpose by milliners, a flat stone being laid on the ground, the sulphur ignited thereon, and the barrel containing the goods to be bleached turned over it. The goods should be previously washed in pure water. Wool, Silk, or Strav^r.— Mix together 4 pounds of oxalic acid, 4 pounds of table salt, water 60 gallons. The goods are laid in this mixture for 1 liour; they are then generally well bleached, and only require to be thoroughly rinsed and worked. For bleaching straw it is best to soak the goods in caustic soda, and afterwards to make use of chloride of lime or Javelle water. The excess of BOILER COMPOUNDS 121 chlorine is afterwards removed by hypo- sulphite of soda. Feathers. — Place the feathers from 3 to 4 hours in a tepid dilute solution of bichromate of potassa, to which, cautiously, some nitric acid has been added (a small quantity only). To remove a greenish hue induced by this solution, place them in a dilute solu- tion of sulphuric acid, in water, whereby the feathers become perfectly white and bleached. Bleaching Solution. — Aluminum hypo- chloride, or Wilson's bleaching liquid, is fjroduced by adding to a clear solution of ime chloride a solution of aluminum sulphate (alumina, alum) as long as a precipitate keeps forming. By mutual decomposition aluminum chloride re- sults, which remains in solution, and lime sulphate (gypsum), which separates out in the form of an insoluble salt. BLIGHT REMEDIES.' I. — Soft soap 40 parts Amyl alcohol 50 parts Methylated spirit. 20 parts Water 1,000 parts II.— Soft soap 30 parts Sulphureted pot- ash 2 parts Amyl alcohol 32 parts Water 1,000 parts III. — Soft soap 15 parts Sulphureted pot- ash. . .' 29 parts Water 1,000 parts BLEACHING SOLUTIONS FOR THE LAUNDRY: See Laundry Preparations. BLEACHING SOLUTION FOR PHOTO- GRAPHS: See Photography. BLEEDING, LOCAL: See Styptics. BLISTER CURE: See Turpentine. BLISTERS, FOR HORSES: See Veterinary Formulas. BLOCK, HOLLOW CONCRETE BUILDING : See Stone, Artificial. BLOCK FOR SOLDERING: See Soldering. BLOTTING PAPER: See Paper. BLUE FROM GREEN AT NIGHT, TO DISTINGUISH : To distinguish blue from green at night, use either the light of a magnesium wire for this purpose or take a number of Swedish (parlor) matches, light them, and as soon as they flash up, observe the 2 colors, when the difference can be easily told. BLUE (BALL): See Dyes. BLUING : See Laundry Preparations. BLUING OF STEEL: See Steel. BLUE PRINTS, TO MAKE CHANGES AND CORRECTIONS ON : Use a solution of sodium carbonate and water, with a little red ink mixed in. This gives a very pleasing pink color to the changes which, at the same time, is very noticeable. The amount of sodium carbonate used depends upon the sur- face of the blue-print paper, as some coarse-grained papSrs will look better if less soda is used and vice versa. How- ever, the amount of powdered soda held on a small coin dissolved in a bottle of water gives good results. BLUE-PRINT PAPER MAKING: See Photography. BLUE PRINTS, TO TURN BROWN: See Photography, under Toning. BOIL REMEDY. Take a piece of soft linen or borated gauze, rub some vaseline upon one side of it, quickly pour upon it some chloro- form, apply it to the unopened boil or carbuncle, and place a bandage over all. It smarts a little at first, but this is soon succeeded by a pleasing, cool sensation. The patient is given a bottle of the rem- edy, and directed to change the cloth often. In from 2 hours to 1 day the boil (no matter how indurated) softens and opens. Boiler Compounds There are three chemicals which are known to attack boiler scale. These are caustic soda, soda ash, and tannic-acid compQunds, the last being derived from sumac, catechu, and the exhausted baik liquor from tanneries. Caustic soda in large excess is inju- rious to boiler fittings, gaskets, valves. 122 BOILER COMPOUNDS etc. That it is injurious, in reasonable excess, to the boiler tubes themselves is yet to be proved. Foaming and priming may be caused through excess of caustic soda or soda ash, as is well known by every practical engineer. Tannic acid is to be condemned and the use of its salts is not to be recommended. It may unite with the organic matter, present in the form of albuminoids, and with cal- cium and magnesium carbonates. That it removes scale is an assured fact; that it removes iron with the scale is also assured, as tannic acid corrodes an iron surface rapidly. Compounds of vegetable origin are widely advertised, but they often contain dextrine and gum, both of which are dangerous, as they coat the tubes with a compact scale, not permitting the water to reach the iron. Molasses is acid and should not be used in the boiler. Starch substances generally should be avoided. Kerosene must be dangerous, as it is very volatile and must soon leave the boiler and pass over and through the engine. There are two materials the use of which in boilers is not prohibited through action upon the metal itself or on ac- count of price. These are soda ash and caustic soda. Sodium triphosphate and sodium fluoride have both been used with success, but their cost is several hundred per cent greater than soda ash. If pre- scribed as per analysis, in slight excess, there should be no injurious results through the use of caustic soda and soda ash. It would be practicable to manu- facture an intimate mixture of caustic soda and carbonate of soda, containing enough of each to soften the average water of a given district. There is a great deal of fraud in con- nection with boiler compounds gener- ally. The better class of venders ad- vertise to prepare a special compound for special water. This is expensive, save on a large scale, in reference to a partic- ular water, for it would mean a score or more of tanks with men to make up the mixtures. The less honest of the boiler- compound guild consign each sample of water to the sewer and send the regular goods. Others have a stock analysis which is sent to customers of a given locality, whether it contains iron, lime, or magnesium sulphates or carbonates. Any expense for softening water in excess of 3 cents per 1,000 gallons is for the privilege of usin^ a ready-made soft- ener. Every superintendent in charge of a plant should insist that the com- pound used be pronounced by competent authority free from injurious materials, and that it be adapted to the water in use. Boiler compounds should contain only such ingredients as will neutralize the scale-forming salts present. They should be used only by prescription, so many gallons per 1,000 gallons of feed water. A properly proportioned mixture of soda ought to answer the demands of all plants depending upon that method of softening water in limestone and shale regions. The honest boiler compounds are, however, useful for small isolated plants, because of the simplicity of their action. For plants of from 75 to 150 horse power two 24-hour settling tanks will answer the purpose of a softening system. Each of these, capable of holding a day's sup- ply, provided with a soda tank in com- mon, and with sludge valves, has pad- dles for stirring the contents. Large plants are operated on this principle, serving boilers of. many thousand horse power. Such a system has an advan- tage over a continuous system, in that the exact amount of chemical solutions required for softening the particular water can be applied. For some varia- tions of such a system, several companies have secured patents. The fundamen- tal principles, nowever, have been used for many years and are not patentable. Prevention of Boiler Scale. — The lime contained in the feed water, either as bi- carbonate or as sulphate, is precipitated in the shape of a light mud, but the walls of the boiler remain perfectly bright without being attacked in any manner. While under ordinary atmospheric pres- sure calcium chromate in solution is pre- cipitated by soda or Glauber's salt as calcium carbonate or as calcium sul- phate; the latter is separated under higher pressure by chromates as calcium chromate. An excess of chromates or chromic acid does not exercise any dele- terious action upon the metal, nor upon the materials used for packing. By the slight admixture of chromates, two pounds are sufficient for a small boiler for weeks; no injurious ingredients are carried in by the wet steam, the injection water, on the contrary, having been found to be chemically pure. Protecting Boiler Plates from Scale.— I- — For a 5-horse-power boiler, fed with water which contains calcic sul- phate, take catechu, 2 pounds; dex- trine, 1 pound; crystallized soda, 2 pounds; potash, J pound; cane sugar, J pound; alum, J pound; gum arabie, i pound. BOILER COMPOUNDS 123 II. — For a bpiler of the same size, fed with water which contains lime: Tur- meric, 2 pounds; dextrine, 1 pound; so- dium bicarbonate, 2 pounds; potash, J pound; alum, i pound; molasses, J pound. III. — For a boiler of the same size, fed with water which contains iron: Gam- boge, 2 pounds; soda, 2 pounds; dex- trine, 1 pound; potash, i pound; sugar, J pound; alum, J pound; gum aratic, j pound. IV. — For a boiler of the same size, fed with sea water:- Catechu, 2 pounds; Glauber's salt, 2 pounds; dextrine, 2 pounds; alum, J pound; gum arable, J pound. When these preparations are used add 1 quart of water, and in ordinary cases charge the boiler every month; but if the incrustation is very bad, charge every two weeks. V. — Place within the boiler of 100 horse power 1 bucketful of washing soda; put in 2 gallons of kerosene oil (after closing the blow-off cock), and fill the boiler with water. Feed in at least 1 quart of kerosene oil every day through a sight-feed oil cup attached to the feed pipe near the boiler — i. e., between the heater and the boiler — so that the oil is not entrapped within the heater. If it is inconvenient to open the boiler, then dissolve the washing soda in hot water and feed it in with the pump or through a tallow cock (attached between the eject- or and the valve in the suction pipe) when the ejector is working. VI. — A paint for protecting boiler plates from scale, and patented in Germany, is composed of 10 pounds each of train oil, horse fat, paraffine, and of finely ground zinc white. To this mixture is added 40 pounds of graphite and 10 pounds of soot made together into a paste with li gallons of water, and about a pound of carbolic acid. The horse fat and the zinc oxide make a soap difficult to fuse, which adheres strongly to the plates, and binds the graphite and the soot. The parafiine prevents the water from pene- trating the coats. The scale which forms on this application can be detached, it is said, with a wooden mallet, without in- juring the paint. VII. — M. E. Asselin, of Paris, recom- mends the use of glycerine as a preventive. It increases the solubility of combinations of lime, and especially of the sulphate. It forms with these combinations soluble compounds. When the quantity of lime becomes so great that it can no longer be dissolved, nor form soluble combina- tions, it is deposited in a gelatinous sub- stance, which never adheres to the sur- face of the iron plates. The gelatinous substances thus formed are not carried with the steam into the cylinder of the engine. M. Asselin advises the employ- ment of 1 pound of glycerine for every 300 pounds or 400 pounds of coal burnt. Prevention of Electrolysis. — In order to prevent the eating away of the sheets and tubes by electrolytic action, it has long been the practice of marine engi- neers to suspend slabs of zinc in their boilers. The zinc, being more suscepti- ble to the electrolytic action than the iron, is eaten away, while the iron re- mains unimpaired. The use of zinc in this way has been found also to reduce the trouble from boiler scale. Whether it be due to the formation of hydrogen bubbles between the heating surfaces and incipient scale, to the presence in the water of the zinc salts resulting from the dissolution of the zinc, or to whatever cause, it appears to be a general conclu- sion among those who have used it that the zinc helps the scale, as well as the corrosion. Nobody has ever claimed for it that it prevented the attachment of scale altogether, but the consensus of opinion is that it "helps some." BOILER PRESSURE. It hardly pays to reduce pressure on boilers, except in very extreme cases, but if it can be done by throttling before the steam reaches the cylinder of the engine it would be an advantage, because this retains the heat units due to the higher Eressure in the steam, and the throtuing as a slight superheating effect. As a matter of fact, tests go to show that for light loads and high pressure a throt- tling engine may do better than an auto- matic cut-off. The ideal arrangement is to throttle the steam for light loads; for heavier loads, allow the variable cut-off to come into play. This practice has been carried into effect by the design of Mr. E. J. Armstrong, in which he ar- ranges the shaft governor so that there is negative lead up to nearly one-quarter cut-off, after which the lead becomes positive, and this has the effect of throt- tling the steam for the earlier loads and undoubtedly gives better economy, in addition to making the engine run more quietly. BONE BLACK: Bone or Ivory Black. — All bones (and ivory is bone in a sense) consist of a framework of crystallized matter or bone earth, in the interstices of which organic matter is embedded. Hence if 124 BONE BLACK bones are heated red-hot in a closed vessel, the organic matter is destroyed, leaving carbon, in a finely divided state, lodged in the bony framework. If the heat is applied gradually the bone re- tains its shape, but is quite black and of much less weight than at first. This bone black or animal charcoal is a sub- stance which has great power of absorb- ing coloring matter from liquids, so that it IS largely used for bleaching such liquids. For example, in the vast industry of beet- sugar manufacture the solutions first made are very dark in color, but after fil- tration throiigh animal charcoal will give colorless crystals on evaporation. Chem- ical trades require such large quantities of bone charcoal that its production is a large industry in itself. As in breaking up the charred bones a considerable amount of waste is produced, in the form of dust and small grains which cannot be used for bleaching purposes, this waste should be worked up into a pigment. This is done by dissolving out the mineral with hydrochloric acid, and then rinsing and drying the carbon. The mineral basis of bones consists mainly of the phosphates of lime and magnesia, salts soluble in not too dilute hydrochloric acid. A vat is half filled with the above-mentioned waste, which is then just covered with a mixture of equal volumes of commercial hydro- chloric acid and water. As the mineral matter also contains carbonates, a lively effervescence at once ensues, and small quantities of hydrofluoric acid are also formed from the decomposition of cal- cium fluoride in the bones. Now hydro- fluoric acid is a very dangerous sub- stance, as air containing even traces of it is very injurious to the lungs. Hence the addition of hydrochloric acid should be done in the open air, and the vat should be left by itself until the evolution of fumes ceases. A plug is then pulled out at the bottom and the carbon is thor- oughly drained. It is then stirred up with water and again drained, when it has fully settled to the bottom. This rinsing with clear water is repeated till all the hydrochloric acid is washed away and only pure carbon remains in the vat.. As for pigment-making purposes it is essential that the carbon should be as finely divided as possible, it is as well to grind the washed carbon in an ordinary color mill. Very little power is required for this purpose, as when once the bone earth is removed the carbon particles have little cohesion. The properly ground mass forms a deep-black mud, which can be left to dry or be dried by artificial heat. When dry, the purified bone black is of a pure black and makes a most excellent pigment. Bone black is put upon the market under all sorts of names, such as ivory black, ebur ustum, Frankfort black, neu- tral black, etc. All these consist of finely ground bone black purified from minersd matter. If leather scraps or dried blood are to be worked up, iron tubes are employed, closed at one end, and with a well-fitting lid with a small hole in it at the other. _ As these bodies give off large volumes of combustible gas during the charring, it is a good plan to lead the vapors from the hole by a bent tube so that they can be burnt and help to supply the heat required and so save fuel. Leather or blood gives a char- coal which hardly requires treatment with hydrochloric acid, for the amount of mineral salts present is so small that its removal appears superfluous. BONES, A TEST FOR BROKEN. Place a stethoscope on one side of the supposed fracture, and a tuning fork on the other. When the latter is vibrated, and there is no breakage, the sound will be heard distinctly through bone and stethoscope. Should any doubt exist, comparison should be made with the same bone on the other side of the body. This test shows the difference in the power of conducting sound possessed by bone and soft tissue. BONE BLEACHES: See Ivory. BONE FAT: See Fats. BONE FAT, PURIFICATION AND BLEACHING OF: See Soap. BONE POLISHES: See Polishes. BONE FERTILIZERS : See Fertilizers. BONES, TREATMENT OF, IN MANU- FACTURING GLUE: See Adhesives. BONE, UNITING GLASS WITH: See Adhesives. BOOKS, THEIR HANDLING AND PRESERVATION : The Preservation of Books in Hot Climates. — Books in hot climates quickly deteriorate unless carefully guarded. There are three destructive agencies: (1) damp, (2) a small black insect, (3) cockroacnes. BOOKS 125 (1) Books which are kept in a damp atmosphere deteriorate on account of molds and fungi that grow rapidly when the conditions are favorable. Books are best kept on open, airy, well-lighted shelves. When there has been a pro- longed spell of moist weather their covers should be wiped, and they should be placed in the sun or before a fire for a few hours. Damp also causes the bind- ings and leaves of some books to sep- arate. (2) A small black insect, one-eighth of an inch long and a sixteenth of an inch broad, somewhat resembling a beetle, is very destructive, and books will be found, if left untouched, after a few months to have numerous holes in the covers and leaves. If this insect be al- lowed plenty of time for its ravages it will make so many holej that bindings originally strong can be easily torn to pieces. All damage may be prevented by coating the covers of books with the varnish described under (3). When books are found to contain the insects they should be well wrapped and placed in the sun before varnishing. (3) The appearance of a fine binding may be destroyed in a single night by cockroaches. The lettering of the bind- ing may, in two or three days, be com- pletely obliterated. The following varnishes have been found to prevent effectually the ravages of cockroaches and of all insects that feed upon books: I. — Dammar resin 2 ounces Mastic 2 ounces Canada balsam 1 ounce Creosote i ounce Spirit of wine 20 fl. ounces Macerate with occasional shaking for a few days if wanted at once, but for a longer time when possible, as a better varnish will result after a maceration of several months. II. — Corrosive sublimate, 1 ounce; car- bolic acid, 1 ounce; methylated or rum spirit, 1 quart. Where it is necessary to keep books or paper of any description in boxes, cup- boards, or closed bookcases, some naph- thalene balls or camphor should be al- ways present with them. If camphor be used it is best to wrap it in paper, otherwise it volatilizes more quickly than is necessary. In dry weather the doors of closed bookcases should be left open occasionally, as a damp, still atmosphere is most favorable for deterioration. How to Open a Book.— Never force the back of the book. Hold the book with its back on a smooth or covered table; let the front board down, then the other, holding the leaves in one hand while you open a few leaves at the back, then a few at the front, and so on, alternately open- ing back and front, gently pressing open the sections till you reach the center of the volume. Do this two or three times and you will obtain the best results. Open the volume violently or carelessly in any one place and you will probably break the back or cause a start in the leaves. BOOK DISINFECTANT: See Disinfectants. BOOKS, TO REMOVE FINGER-MARKS FROM : See Cleaning Preparations and Meth- ods. BOOKBINDERS' VARNISH: See Varnishes. BOOKWORMS : See Insecticides. BOOT DRESSINGS: See Shoe Dressings. BOOT LUBRICANT: See Lubricant. BOOTS, WATERPROOFING : See Waterproofing. BORAX FOR SPRINKLING. I. — Sprinkling borax is not only cheaper, but also dissolves less in solder- ingthan pure borax. The borax is heated in a metal vessel until it has lost its water of crystallization and mixed with calcined cooking salt and potash — borax, 8 parts; cooking salt, 3 parts; potash, 3 parts. Next i; is pounded in a mortar into a fine pow- der, constituting the sprinkling borax. II. — Another kind of sprinkling borax is prepared by substituting glass-eall foL- the potash. Glass-gall is the froth float- ing on the melted glass, which can be skimmed off. The borax is either dusted on in pow- der form from a sprinkling box or stirred with water before use into a thin paste. BORAX AND BORIC ACID IN FOOD : See Food. BORDEAUX MIXTURE: See Insecticides. BOROTONIC : See Dentifrices. 126 BOTTLES BOTTLE-CAP LACQUER: See Lacquer. BOTTLE CLEANERS: See Cleaning Preparations and Meth- ods, under Miscellaneous Methods. BOTTLE STOPPERS: See Stoppers. BOTTLE VARNISH: See Varnishes. BOTTLE WAX: See Photography. BOUILLON: See Beverages. BOURBON METALS: See Alloys. BOWLS OF FIRE TRICK: See Pyrotechnics. BOX GLUE: See Adhesives. BRAGA : See Beverages. BRAN, SAWDUST IN. For the detection of sawdust in bran use a solution of 1 part of phloroglucin in 15 parts of alcohol, 15 parts of water, and 10 parts of syrupy phosphoric acid. Place 2 parts of the solution in a small porcelain dish, add a knifepointful of the bran and heat moderately. Saw- dust is dyed red while bran parts only seldom acquire a faint red color. By a microscopic examination of the reddish parts, sawdust will be readily recognized. Bottles Magic Bottles. — The mystery of the " wonderful bot- tle," from which can be poured in suc- cession port wine, sherry, claret, water, champagne, or ink, at the will of the op- erator, IS easily explained. The mate- rials consist of an ordinary dark-colored pint wine bottle, seven wine glasses of different patterns, and the chemicals described below: Solution A: A mixture of tincture of ferric chloride, drachms vi; hydro- chloric acid, drachms ii. Solution B: Saturated solution of am- monium sulphocyanide, drachm i. Solution C: Strong solution of ferric chloride, drachm i. Solution D: A weak solution of am- monium sulphocyanide. Solution E: Concentrated solution of lead acetate. Solution F: Solution of ammonium sulphide, drachm i; or pyrogallic acid, drachm i. Package G: Pulverized potassium bi- carbonate, drachm iss. Having poured two teaspoonfuls of solution A into the wine bottle, treat the wine glasses with the different solutions, noting and remembering into which glasses the several solutions are placed. Into No. 1 wine glass pour one or two drops of solution B; into No. 2 glass pour one or two drops of solution C; into No. 3 one or two drops of Solution D; leave No. 4 glass empty; into No. 5 glass pour a few drops of Solution E; into No. 6 glass place a few grains of Package G; into No. 7 glass pour a little of solution F. Request some one to bring you some cold drinking water, and to guarantee that it is pure show that your wine bot- tle is (practically) empty. Fill it up from the carafe, and having asked the audience whether you shall produce wine or water, milk or ink, etc., you may ob- tain any of these by pouring a little of the water from the bottle into the pre- pared glass. Thus No. 1 glass gives a port-wine color; No. 2 gives a sherry color; No. 3 gives a claret color; No. 4 is left empty to prove that the solution in the bottle is colorless; No. 5 produces milk; No. 6, effervescing champagne; No. 7, ink. Bottle-Capping Mixtures. — I. — Soak 7 pounds of good gelatin in 10 ounces of glycerine and 60 ounces of "water, and heat over a water bath until dissolved, and add any desired color. Pigments may be used, and various tints can be obtained by the use of aniline colors. The resulting compound should be stored in jars. To apply liquefy the mass and dip the cork and portion of the neck of the bottle into the liquid; it sets very quickly. II. — Gelatin 1 ounce G um arable 1 ounce Boric acid 20 grains Starch 1 ounce Water 16 fluidounces Mix the gelatin, gum arable, and boric acid with 14 fluidounces of cold water, stir occasionally until the gum is dissolved, heat the mixture to boiling, remove the scum, and strain. Also mix the starch intimately with the remainder of the water, and stir this mixture into the hot gelatin mixture until a uniform product results. As noted above, the composition may be tinted with any suit- able dye. Before using, it must be soft- ened by the application of heat. BRASS ■127 III. — Shellac ,i. 3 ounces Venice turpentine 1 J ounces Boric acid 72 grains Powdered talcum. 3 ounces Ether 6 fluidraras Alcohol 12 J fluidounces Dissolve the shellac, turpentine, and boric acid in the mixed alcohol ^nd ether, color with a spirit-soluble dye, and add the talcum. During use the mixture must be agitated frequently. Show Bottles.— I. — Place in a cylindrical bottle the following liquids in the order named: First, sulphuric acid, tinted blue with indigo; second, chloroform; third, glyc- erine, slightly tinted with caramel; fourth, castor oil, colored with alkanet root; fifth, 40-per-cent alcohol, slightly tinted with aniline green; sixth, cod- liver oil, containing 1 per cent of oil of turpentine. The liquids are held in place by force of gravity, and alternate with fluids which are not miscible, so that the strata of layers are clearly de- fined and do not mingle by diffusion. . II. — Chromic acid 1 drachm Commercial "muri- atic" acid 2 ounces Nitric acid 2 ounces Water, enough to make 3 gallons The color is magenta. The following makes a fine pink for show carboys: III. — Cobalt oxide 2 parts Nitric acid, c. p 1 part Hydrochloric acid 1 part Mix and dissolve, and to the solution add: Strongest water of ammonia 6 parts Sulphuric acid 1 part Water, distilled, q. a. to make 400 parts This should be left standing in a dark, cool place for at least a month before put- ting in the window. W. — Green. — Copper sulphate, 300 parts, by weight; hydrochloric acid, 450 parts, by weight; distilled water, to 4,500 parts, by weight. V. — Blue. — Copper sulphate, 480 parts, by weight; sulphuric acid, 60 parts, by weight; distilled water, to 450 parts, by weight. VI. — Yellowish Brown. — Potassium dichromate, 120 parts, by weight; nitric acid, 150 parts, by weight; distilled wa- ter, to 4,500 parts, by weight. Vn.-^ Yellow. — Potassium dichromate, 30 parts, by weight; sodium bicarbon- ate, 225 parts, by weight; distilled water, to 4,600 parts, by weight. VIII. — Red. — Liquid ferric chloride, oflScinal, 60 parts, by weight; co:.cen- trated ammonium-acetate solution, 120 parts, by weight; acetic acid, 30 per cent, 30 parts, by weight; distilled water, to 9,000 parts, by weight. IX. — Crimson. — Potassium iodide, 7.5 parts, by weight; iodine, 7.5 parts, by weight; hydrochloric acid, 60 parts, by weight; distilled water, to 4,500 parts, by weight. All the solutions TV to IX should be filtered. If distilled water be used these solutions should keep for five to ten years. In order to prevent them from freezing, either add 10 per cent of alcohol, or re- duce the quantity of water by 10 per cent. A Cheap and Excellent Warming Bottle. — Mix sodium acetate and sodium hvposulphate in the proportion of 1 part of the former to 9 parts of the latter, and with the mixture fill an earthenware bottle about three-quarters full. Close the ves- sel well with a cork and place it either in hot water or in the oven, and let re- main until the salts within melt. For at least a half day the jug will radiate its heat, and need only be well shaken from time to time to renew its heat-giving energy. Bottle Deodorizer. — Powdered black mustard seed is successfully employed. Pour a little of it with some lukewarm water into the receptacle, rinsing it after- wards with water. If necessary, repeat the process. BRANDY AND BRANDY BITTERS See Wines and Liquors. Brass Formulas for the making of Brass will be found under Alloys. Colors for Polished Brass. — The brass objects are put into boiling solutions composed of different salts, and the in- tensity of the shade obtained is depend- ent upon the duration of the immersion. With a solution composed of Sulphate of copper. . . 120 grains Hydrochlorate of am- monia 30 grains Water 1 quart greenish shades are obtained. With the following solution all the shades of brown from orange brown to cinnamon are ob- tained: 128 BRASS Chlorate of potash. . . 150 grains Sulphate of copper. . . 150 grains Water 1 quart The following solution gives the brass first a rosy tint and then colors it violet and blue: Sulphate of copper. . . 435 grains Hyposulphite of soda 300 grains Cream of tartar 150 grains Water 1 pint Upon adding to the last solution Ammoniacal sulphate of iron 300 grains Hyposulphite of soda 300 grains there are obtained, according to the dura- tion of the immersion, yellowish, orange, rosy, then, bluish shades. Upon polar- izing the ebullition the blue tint gives way to yellow, and finally to a pretty gray. Silver, under the same circum- stances, becomes very beautifully col- ored. After a long ebullition in the following solution we obtain a yellow- brown shade, and then a remarkable fire red: Chlorate of potash ... 75 grains Carbonate of nickel . . 30 grains Salt of nickel 75 grains Water 16 ounces The following solution gives a beau- tiful, dark-brown color: Chlorate of potash . . 75 grains Salt of nickel 150 grains Water 10 ounces The following gives, in the first place, a red, which passes to blue, then to pale lilac, and finally to white: Orpiment 75 grains Crystallized sal sodse 150 grains Water 10 ounces The following gives a yellow brown: Salt of nickel 75 grains Sulphate of copper. . 75 grains Chlorate of potash . . 75 grains Water 10 ounces On mixing the following solutions, sulphur separates and the brass becomes covered with iridescent crystallizations: I. — Cream of tartar 75 grains Sulphate of copper. . 75 grains Water 10 ounces II. — Hyposulphite of soda 225 grains Water 5 ounces Upon leaving the brass objects im- mersed in the following mixture con- tained in corked vessels they at length acquire a very beautiful blue color: Hepar of sulphur .... 15 grains Ammonia 75 grains Water 4 ounces Miscellaneous Coloring of Brass. — ■ Yellow to bright red: Dissolve 2 parts native copper carbonate with 1 part caustic soda in 10 parts water. Dip for a few minutes into the litjuor, the va- rious shades desired being obtained according to the length of time of the immersion. Green: Dissolve 1 part cop- per acetate (verdigris), 1 part blue vitriol, and 1 part alum in 10 parts of water and boil the articles therein. Black: For optical articles, photographic apparatus, plates, rings, screws, etc., dissolve 45 parts of malachite (native copper carbonate) in 1,000 parts of sal amaioniac. For use clean and remove the grease from the article by pickling and dip it into the bath until the coating is strong enough. The bath operates better and quicker if heated. Should the oxidation be a failure it should be removed by dipping into the brass pickle. A verdigris color on brass is produced by treating the articles with dilute acids, acetic acid, or sulphuric acid, and drying. Brown in all varieties of shades is ob- tained by immersing the metal in solu- tions of nitrates or ferric chloride after it has been corroded with dilute nitric acid, cleaned with sand and water, and dried. The strength of the solutions governs the deepness of the resulting color. Violet is caused by immersing the thor- oughly cleaned objects in a solution of ammonium chloride. Chocolate color results if red ferric oxide is strewn on and burned off, fol- lowed by polishing with a small quantity of galena. Olive green is produced by blacken- ing the surface with a solution of iron in hydrochloric acid, polishing with galena, and coating hot witn a lacquer composed of 1 part varnish, 4 parts cincuma, and 1 part gamboge. A steel-blue coloring is obtained by means of a dilute boiling solution of chloride of arsenic, and a blue one by a treatment with strong hyposulphite of soda. Another formula for bluing brass is: Dissolve 10 parts of antimony chloride in 200 parts of water, and add 30 ■parts of pure hydrochloric acid. Dip the article until it is well blued, then wash and dry in sawdust. Black is much used for optical brass articles and is produced by coating with a solution of platinum or auric chloride mixed with nitrate of tin. Coloring Unpolished Brass.— A- yellow color of handsome effect is obtained on BRASS 129 unpolished brass by means of antimony- chloride solution. This is produced by finelj; powdering gray antimony and boil- ing it with hydrochloric acid. With formation of hydrogen sulphide a, solu- tion of antimony results, which must not be diluted with water, since a white pre- cipitate of antimony oxychloride is im- mediately formed upon admixture of water. For dilution, completely satu- rated cooking-salt solution is employed, using for 1 part of antimony chloride 2 parts of salt solution. Coloring Fluid for Brass.— Caustic soda, 33 parts; water, 24 parts; hydraled carbonate of copper, 5.5 parts. Dissolve the salt in water and dip the metal in the solution obtained. The in- tensity of the color will be proportional to the time of immersion. After remov- ing the object from the liquid, rinse with water and dry in sawdust. Black Color on Brass. — A black or ox- idized surface on brass is produced by a solution of carbonate of copper in am- monia. The work is immersed and al- lowed to remain until the required tint is observed. The carbonate of copper is best used in a plastic condition, as it is then much more easily dissolved. Plas- tic carbonate of copper may be mixed as follows: Make a solution of blue vitriol (sulphate of copper) in hot water, and add a strong solution of common washing soda to it as long as any precipitate forms. The precipitate is allowed to settle, and the clear liquid is poured off. Hot water is added, and the mass stirred and again allowed to settle. This oper- ation is repeated six or eight times to re- move the impurities. After the water has been removed during the last pour- ing, and nothing is left but an emulsion of the thick plastic carbonate in a small quantity of water, liquid ammonia is added until everything is dissolved and a clear, deep-blue liquid is produced. If too strong, water may be added, but a strong solution is better than a weak one. If it is desired to make the solution from commercial plastic carbonate of copper the following directions may be followed: Dissolve 1 pound of the plastic carbonate of copper in 2 gallons of strong ammonia. This gives the required strength of so- lution. The brass which it is desired to black- en is first boiled in a strong potash solu- tion to remove grease and oil, then well rinsed and dipped in the copper solution, which has previously been heated to from 150° to 175° ¥. This solution, if heated tod hot, gives off all the ammonia. The brass is left in the solution until the required tint is produced. The color produced is uniform, black, and tena- cious. The brass is rinsed and dried in sawdust. A great variety of effects may be produced by first finishing the brass before blackening, as the oxidizing proc- ess does not injure the texture of the metal. A satisfactory finish is produced by first rendering the surface of the brass matt, either by scratch-brush or similar methods, as the black finish thus produced by the copper solution is dead — one of the most pleasing effects of an oxidized surface. Various effects may also be produced by coloring the entire article and then buffing the exposed portions. The best results in the use of this so- lution are obtained by the use of the so- called red metals — i. e., those in which the copper predominates. The reason for this is obvious. Ordinary sheet brass consists of about 2 parts of copper and 1 part of zinc, so that the large quantity of the latter somewhat hinders the produc- tion of a deep-black surface. Yellow brass is colored black by the solution, but it is well to use some metal having a reddish tint, indicating the presence of a large amount of copper. The varieties of sheet brass known as gilding or bronze work well. Copper also gives excellent results. Where the best results are de- sired on yellow brass a very light electro- plate of copper before the oxidizing works well and gives an excellent black. With the usual articles made of yellow brass this is rarely done, but the oxida- tion carried out directly. Black Finish for Brass. — I. — A hand- some black finish may be put on brass by the following process: Dissolve in 1,000 parts of ammonia water 45 parts of natural malachite, and in the solution put the object to be blackened, after first having carefully and thoroughly cleaned the same. After letting it stand a short time gradually warm the mixture, ex- amining the article from time to time to ascertain if the color is deep enough. Rinse and let dry. II. — The blacking of brass may be accomplished by immersing it in the fol- lowing solution and then heating over a Bunsen burner or a spirit flame: Add a saturated solution of ammo- nium carbonate to a saturated copper- sulphate solution, until the precipitate resultinf^ in the beginning has almost en- tirely dissolved. The immersion and heating are repeated until the brass turns dark; then it is brushed and dipped in negative varnish or dull varnish. 130 BRASS To Give a Brown Color to Brass. — ^I. — In 1.000 parts of rain or distilled water dissolve 5 parts each of verdigris (copper acetate) and ammonium chloride. Let the solution stand 4 hours, then add 1,500 Carts of water. Remove the brass to be rowned from its attachment to the fix- tures and make the surface perfectly bright and smooth and free from grease. Place it over a charcoal fire and heat un- til it "sizzes" when touched with the dampened finger. The solution is then painted over the surface with a brush or swabbed on with a rag. If one swab- bing does not produce a suflScient depth of color, repeat the heating and the ap- Elication of the liquid until a fine durable rown is produced. For door plates, knobs, and ornamental fixtures gener- ally, this is one of the handsomest as well as the most durable surfaces, and is easily applied. II. — A very handsome brown may be produced on brass castings by immersing the thoroughly cleaned and dried articles in a warm solution of 15 parts of sodium hydrate and 5 parts of cupric carbonate in 100 parts of water. The metal turns dark yellow, light brown, and finally dark brown, with a greenish shimmer, and, when the desired shade is reached, is taken out of the bath, rinsed, and dried. 111. — Paint the cleaned and dried sur- face uniformly with a dilute solution of ammonium sulphide. When this coat- ing is dry, it is rubbed over, and then painted with a dilute ammoniacal so- lution of arsenic sulphide, until the required depth of color is attained. If the results are not satisfactory the painting can be repeated after washing over with ammonia. Prolonged im- mersion in the second solution produces a grayish-green film, which looks well, and acquires luster when polished with a cloth. Refinishing Gas Fixtures. — Gas fix- tures which have become dirty or tar- nished from use may be improved in ap- pearance by painting with bronze paint and then, if a still better finish is re- quired, varnishing after the paint is thoroughly dry with some light-colored varnish that will give a hard and brilliant coating. If the bronze paint is made up with ordinary varnish it is liable to become discolored from acid which may be pres- ent in the varnish. One method pro- posed tor obviating this is to mix the varnish with about five times its volume of spirit of turpentine, add to the mixture dried slaked lime in the proportion of about 40 grains to the pint, agitate well, repeating the agitation several times, and finally allowing the suspended matter to settle and decanting the clear liquid. The object of this is to neutralize any acid which may be present. To deter- mine how effectively this has been done the varnish may be chemically tested. Steel Blue and Old Silver on Brass. — For the former dissolve 100 parts of car- bonic carbonate in 750 parts of ammonia and dilute this solution with distilled water, whereupon the cleaned articles are dipjied into the liquid by means of a brass wire. After two to three minutes take them out, rinse in clean water, and dry in sawdust. Old silver on brass is produced as follows: The articles are first silvered and next painted with a thin paste consisting of graphite, 6 parts; pulverized hematite, 1 part; and tur- pentine. Use a soft brush and dry well; then brush off the powder. Oxidized silver is obtained by dipping the silvered goods into a heated solution of liver of sulphur, 5 parts; ammonia carbonate, 10 parts; and water,10,000 parts. Only sub- stantially silvered objects are suited for oxidation, as a weak silvering is taken off by this solution. Unsatisfactory col- oring is removed with potassium-cya- nide solution. It is advisable to lay the articles in hydrogen sulphide-ammonia solution diluted with water, wherein they acquire a blue to a deep-black shade. Tombac Color on Brass. — This is pro- duced by immersion in a mixture of cop- per carbonate, 10 parts; caustic soda, 30 parts; water, 200 parts. This layer will only endure wiping with a cloth, not vig- orous scouring with sand. _ Graining of Brass. — Brass parts of timepieces are frequently provided with a dead grained surface. For this pur- pose they are' fastened with flat-headed pins on cork disks and brushed with a paste of water and finest powdered pumice stone. Next they are thor- oughly washed and placed in a solution of 10 quarts of water, 30 grains of mer- curic nitrate, and 60 grains of sulphuric acid. _ In this amalgamating solution the objects become at once covered with a layer of mercury, which forms an amal- gam with the copper, while the zinc E asses into solution. After the articles ave again been washed they are treated with graining powder, which consists of silver powder, tartar, and cooking salt. These substances must be pure, dry, and very finely pulverized. The mixing is done with moderate heat. According BRASS 181 to whether a coarser or finer grain is de- sired, more cooking salt or more tartar must be contained m the powder. The ordinary proportions are: Silver powder . . 28 28 28 parts Tartar 283 110-140 85 parts Cooking salt. .. 900 370 900 parts This powder is moistened with water and applied to the object. Place the article with the cork support in a flat dish and rub on the paste with a stiff brush while turning the dish incessantly. Gradu- ally fresh portions of graining powder, are put on until the desired grain is ob- tained. These turn out the rounder the more the dish and brush are turned. When the right grain is attained, rinse off with water, and treat the object with a scratch brush, with employment of a decoction of saponaria. The brushes must be moved around in a circle in brushing with the pumice stone, as well as in rubbing on the graining powder and in using the scratch brush. The required silver powder is produced by precipitating a diluted solution of silver nitrate with some strips of sheet copper. The precipitated silver powder is washed out on a paper filter and dried at moder- ate heat. The Dead, or Matt, Dip for Brass. — The dead dip is used to impart a satiny or crystalline finish to the surface. The bright dip gives a smooth, shiny, and per- fectly even surface, but the dead dip is the most pleasing of any dip finish, and. can be used as a base for many secondary finishes. The dead dip is a mixture of oil of vitriol (sulphuric acid) and aqua fortis (nitric acid) in which there is enough sulphate of zinc (white vitriol) to saturate the solution. It is in the presence of the sulphate of zinc that the essential differ- ence between the bright and the dead dip exists. Without it the dead or matt sur- face cannot be obtained. The method generally practiced is to add the sulphate of zinc to the mixed acids (sulphuric and nitric), so that some remains undissolved in the bottom of tte vessel. It is found that the sulphate of zinc occurs in small crystals having the appearance of very coarse granulated sugar. These crystals readily settle to the bottom of the vessel and do not do the work of matting properly. If they are finely pulverized the dip is slightly im- proved, but it is impossible to pulverize such material to a fineness that will do the desired work. The use of sulphate of zinc, then, leaves much to be desired. The most modern method of making 5 up the dead dipis to produce the sul- phate of zinc directly in the solution and in the precipitated form. It is well known that the most finely divided ma- terials are those which are produced by precipitation, and in the dead dip it is very important. 'hat fhs sulphate of zinc shall be finely divided so that it will not immediately settle to , he bottom. There- fore it chould be precipitated so that when it is mixed with the acids it will not settle immediately. The method of mak- ing the sulphate of zinc directly in the solution is as follows: Take 1 gallon of yellow aqua fortis (38° F.) and place in a stone crock which is surrounded with cold water. The cold water is to keep the heat, formed by the reaction, from evaporating the acid. Add metallic zinc in small pieces until the acid will dissolve no more. The zinc may be in any conven- ient form — sheet clippings, lumps, gran- ulated, etc., that may be added little by little. If all is added at once it will boil over. When the acid will dissolve no more zinc it will be found that some of the acid has evaporated by the heat, and it will be necessary to add enough fresh acid to make up to the original gallon. When this is done add 1 gallon of strong oil of vitriol. The mixture should be stirred with a wooden paddle while the oil of vitriol is being added. As the sulphuric acid is being added the solution begins to grow milky, and finally the whole has the consistency of thick cream. This is caused by the sul- phuric acid (oil of vitriol) precipitating out the sulphate of zinc. Thus the very finely divided precipitate of sulphate of zinc is formed. If one desires to use known quantities of acid and zinc the following amounts may be taken: Oil of vitriol, 1 gallon; aqua fortis (38° P.), 1 gallon; metallic zinc, 6 ounces. ■ In dissolving the zinc in the aqua for- tis it is necessary to be sure that none re- mains undissolved in the bottom. The dead or matt dip is used hot, and, therefore, is kept in a stone crock sur- rounded with hot water. The articles to be matted are polished and cleaned, and the dip thoroughly stirred with a wooden paddle, so as to bring up the sulphate of zinc which has settled. Dip the work in the solution and allow it to remain until the matt is obtained. This is a point which can be learned only by experience. When the brass article is first introduced there'is a rapid action on the surface, but in a few seconds this slows down. Re- move the article and rinse and immedi- ately dip into the usual bright dip. This 132 BRASS is necessary for the reason that the dead dip produces a dark coating upon the surface, which, were it left on, would not show the real effect or the color of the metal. The bright dip, however, re- moves this and exposes the true dead surface. The usual rule for making up the dead dip is to use equal parts of oil of vitriol and aqua fortis; but these may be altered to suit the case. More oil of vitriol gives a finer matt, while a larger quantity of aqua fortis will give a coarser matt. When the dip becomes old it is unneces- sary to add more zinc, as a little goes into the solution each time anything is dipped. After a while, however, the solution be- comes loaded with copper salts, and should be thrown away. A new dip does not work well, and will not give good results when used at once. It is usual to allow it to remain over night, when it will be found to be in a better working condition in the morn- ing. A new dip will frequently refuse to work, and the addition of a little water will often start it. The water must be used sparingly, however, and only when necessary. Water, as a usual thing, spoils a dead dip, and must be avoided. After a while it may be necessary to add a little more aqua fortis, and this may be introduced as desired. Much care is needed in working the dead dip, and it requires constant watching and experi- ence. The chief difficulty in working the dead dip is to match a given article. The only way that it can be done is to "cut and try," and add aqua fortis or oil of vitriol as the case requires. The dead or matt dip can be obtained only upon brass or German silver; in other words, only on alloys which con- tain zinc. The best results are obtained upon yellow brass high in zinc. To Improve Deadened Brass Parts. — Clock parts matted with oilstone and oil, such as the hour wheels, minute wheels, etc., obtain, by mere grinding, a somewhat dull appearance, with a sensi- tive surface which readily takes spots. This may be improved by preparing the following powder, rubbing a little of it on a buff stick, and treating the deadened parts, which have been cleansed with benzine, by rubbing with slight pressure on cork. This imparts to the articles a handsome, permanent, metallic matt luster. The smoothing powder consists of 2 parts of jewelers' red and 8 parts of lime carbonate, levigated in water, and well dried. Jewelers' red alone may be employed, but this requires some prac- tice and care, especially in the treatment of wheels, because rays are liable to form from the teeth toward the center. Pickle for Brass. — Stir 10 parts (by weight) of shining soot or snuff, 10 parts of cooking salt, and 10 parts of red tar- tar with 250 parts of nitric acid, and afterwards add 250 parts of sulphuric acid; or else mix 7 parts of aqua fortis (nitric acid) with 10 parts of English sulphuric acid. For the mixing ratio of the acid, the kind and alloy of the metal should be the guidance, and it is best found out by practical trials. The bet- ter the alloy and the less the percentage of zinc or lead, the handsomer will be the color. Genuine bronze, for instance, acquires a golden shade. In order to give brass the appearance of handsome gilding it is often coated with gold var- nish by applying same thinly with a brush or sponge and immediately heating the metal over a coal fire. Pickling Brass to Look Like Gold.— To pickle brass so as to make it resem- ble gold allow a mixture of 6 parts of chemically pure nitric acid and 1 part of English sulphuric acid to act for some hours upon the surface of the brass; then wash with a warm solution, 20 parts of tartar in 50 parts of water, and rub off neatly with dry sawdust. Then coat the article with the proper varnish. Pickle for Dipping Brass. — To im- prove the appearance of brass, tombac, and copper goods, they are usually dipped. For this purpose they are first immersed in diluted oil of vitriol (brown sulphuric acid), proportion, 1 to 10; next in a mixture ctf 10 parts of red tartar; 10 parts of cooking salt; 250 parts of Eng- lish sulphuric acid, as well as 250 parts of aqua fortis (only for a moment), rinsing off well in water and drying in sawdust. For obtaining a handsome matt gold color ^ part of zinc vitriol (zinc sul- phate) is still added to the pickle. Restoration of Brass Articles. — The brass articles are first freed from adher- ing dirt by the use of hot soda lye; if bronzed they are dipped in a highly dilute solution of sulphuric acid and rinsed in clean water. Next they are yellowed in a mixture of nitric acid, 75 parts; sul- phuric acid, 100 parts; shining lamp- black, 2 parts; cooking salt, 1 part; then rinsed and polished and, to prevent oxidation, coated with a colorless spirit varnish, a celluloid varnish being best for this purpose. Tempering Brass.— If hammered too brittle brass can be tempered and made BRICK of a more even hardness throughout by warming it, as in tempering steel; but the heat must not be nearly so great. Brass, heated to the blue heat of steel, is almost soft again. To soften brass, heat it nearly to a dull red and allow it to cool, or, if time is an object, it may be cooled by plunging into water. Drawing Temper from Brass. — Brass is rendered hard by hammering or roll- ing, therefore when a brass object re- quires to be tempered the material must be prepared before the article is shaped. Temper may be drawn from brass by heating it to a cherry red and then sim- ply plunging it into water, the same as though steel were to be tempered. BRASS. FASTENING PORCELAIN TO : See Adhesives. BRASS POLISHES: See Polishes. BRASS SOLDERS: See Solders. BRASS BRONZING: See Plating. BRASS CLEANERS: See Cleaning Preparations and Meth- ods. BRASS PLATINIZING: See Plating. BRASS, SAND HOLES IN: See Castings. BRASSING : See Plating. BREAD, DOG: See Dog Biscuit. BREATH PERFUMES: See also Dentifrices. Remedies for Fetid Breath.— Fetid breath may be due to the expelled air (i. e., to disease of the respirational tract), to gases thrown off from the digestive tract, or to a diseased mouth. In the first two cases medication must he di- rected to the causative diseases, with the last, antisepsis principally and the neu- tralization of the saliva, also the removal of all residual food of dental caries. I. — Potassium perman- ganate 1 part Distilled water. ... 10 parts Mix and dissolve. Add from 5 to 8 drops of this solution to a glass of water and^with it gargle the mouth. II. — Infusion of salvia 250 parts Glycerine 30 parts Tincture of myrrh 12 parts Tincture of laven- der 12 parts Labarraque's so- lution 30 parts Mix. Rinse the mouth frequently with this mixture. III. — Decoction of cham- omile 30 parts Glycerine 80 parts Chlorinated water. 15 parts Mix. Use as a gargle and mouth wash. IV. — Peppermint water 500 parts Cherry-laurel wa- ter 60 parts Borax 25 parts Mix and dissolve. Use as gargle and mouth wash. v.— Thymol 3 parts Spirit of cochlea- ria 300 parts Tincture of rhat- any 100 parts Oil of peppermint 15 parts Oil of cloves 10 parts Mix. Gargle and wash mouth well with 10 drops in a glass of water. VI. — Salol 5 parts Alcohol 1,000 parts Tincture of white canella 30 parts Oil of pepper- mint 1 part Mix. Use as a dentifrice. VII. — Hydrogen perox- ide 25 parts Distilled water. . . 100 parts Mix. Gargle the mouth twice daily with 2 tablespoonfuls of the mixture in a glass of water. VIII. — Sodium bicarbon- ate 2 parts Distilled water. ... 70 parts Spirit of cochlearia 30 parts Mix a half-teaspoonful in a wine- glassful of water. Wash mouth two or three times daily. BRICK STAIN. To stain brick flat the color of brown- stone, add black to Venetian red until the desired shade is obtained. If color ground in oil is used, thin with turpen- tine, using a little japan as a drier. If necessary to get the desired shade add yellow ocher to the mixture of red and black. If the work is part old and part new, rub the wall down, using a brick 134 BRONZING for a rubber, until the surface is uniform, and keep it well wet while rubbing with cement water, made by stirring Portland cement into water until the water looks the color of the cement. This opera- tion fills the pores of the brick and makes a smooth, uniform surface to paint on. Tinge the wash with a little dry Vene- tian red and lampblack. This will help bring the brick to a uniform color, so that an even color can be obtained with one coat of stain. BRICKS : See Ceramics. BRICKS OF SAND-LIME: See Stone, Artificial. BRICK POLISHES: See Polishes. BRICK WALLS, TO CLEAN: See Cleaning Preparations and Meth- ods and Household Formulas. BRICK WATERPROOFING: See Waterproofing. BRICKMAKERS' NOTES: See Ceramics. BRIDGE PAINT: See Paint. BRILLIANTINE : See Hair Preparations. BRIMSTONE (BURNING): See Pyrotechnics. BRIONY ROOTS: THEIR PRESER- VATION : See Roots. BRITANNIA METAL: See Alloys. BRITANNIA METAL, TO CLEAN: See Cleaning Preparations and Meth- ods. BRITANNIA, SILVERPLATING : See Plating. BROMINE," ANTISEPTIC : See Antiseptics. BROMOFORM. Bromoform is insoluble in dilute al- cohol, but may be dissolved by the aid of glycerine. The following formula has been devised: Bromoform 1 part Alcohol 2 parts Compound tincture of cardamon 2 parts Glycerine li parts Some other formulas are: Syrup of Bromoform. — Bromoform, 5 parts; alcohol (95 per cent), 45 parts; glycerine, 150 parts; syrup, 800 parts. Mix in the order given and place the con- tainer in warm water until the syrup be- comes perfectly clear. Emulsion of Bromoform. — Add 3 parts of bromoform to 20 parts of expressed oil of almond; emulsify this nJxture in the usual manner with 2 parts ox powdered tragacanth, 4 parts of powdered acacia, and sufficient water, using for the com- pleted emulsion a total of 120 parts of water, and add, finally, 4 parts of cherry- laurel water. Bromoform Rum. — Bromoform, 1.2 parts; chloroform, 0.8 parts; rum, sufii- cient to make 120 parts. Claimed to be an effective remedy in the treatment of whooping cough. BRONZES : See Alloys. BRONZE CASTING: See Casting. BRONZE, IMITATION: See Plaster. BRONZE POLISHES : See Polishes. BRONZE, RENOVATION OF: See Cleaning Compounds. Bronze Powders, Liquid Bronzes, Bronze Substitutes, and Bronzing BRONZE POWDERS. Gold bronze is a mixture of equal parts of oxide of tin and sulphur, which are heated for some time in an earthen retort. Silver bronze is a mixture of equal parts of bismuth, tin, and mercury, which are fused in a crucible, adding the mercury only when the tin and the bis- muth are in fusion. Next reduce to a very fine powder. To apply these bronzes, white of e^g, gum arable, or varnish is used. It is preferable to ap- ply them dry upon one of the above- named mediums serving as size, than to mix them with the licjuids themselves, for in the latter case their luster is impaired. Simple Coloring of Bronze Powder.— In order to impart different colors to BRONZING 135 bronze powders, such as pale yellow, dark yellow to copper red, tne powder is heated with constant stirring in flat iron pans until through the oxidation of the copper — the bronzes consist of the brass powder of an alloy from which the so- called Dutch gold is produced — the de- sired shade of color is reached. As a rule a very small quantity of fat, wax, or even parafBne is added in this operation. The Dronze powders are employed to produce coatings or certain finishes on metals themselves or to give articles of wood, stone, pasteboard, etc., a metallic appearance. General Directions for Bronzing. — The choice of bronze powders is determined bj^ the degree of brilliancy to be ob- tained. The powder is mixed with strong gum water or isinglass, and laid on with a brush or pencil, almost but not absolutely dry. A piece of soft leather, wrapped around the finger, is dipped into the powder and rubbed over the work; when all this has been covered with the bronze it must be left to dry, and the loose powder is then cleared away with a hair pencil. LIQUID BRONZES. Liquid Bronzes. — I. — For the produc- tion of liquid bronze, acid-free varnish should be used, as bronze ground with ordinary varnish will form verdigris. For the deacidification of dammar rosin pour 1,000 parts of petroleum benzine over 350 parts of finely ground dammar rosin, and dissolve by repeated shaking. Next add to the solution 250 parts of a 10-per-cent aqueous solution of caustic soda and shake up well for 10 minutes. After standing for a short time two strata will have formed, the upper oiie consisting of benzine-rosin solution and the lower, agueous one containing^ the resinic acid dissolved as soda salts. Pour off the benzine layers and agitate again assiduously with 250 parts of the 10-per- cent caustic-soda solution. Now set aside for a complete classification and separation of the two liquids. The dammar solution siphoned off will be per- fectly free from acid. To obtain eold- bronze varnish add to the deacidified dammar solution about 250 parts of bronze or brocade per liter. II. — Or else carefully mix 100 parts of finely ground dammar rosin with 30 parts of calcined soda and heat to fusion, in which state it is maintained 2 or 3 hours with frequent stirring. Let cool, grind the turbid mass obtained, and pour a little coal benzine or petroleum benzine over it in a flask. By repeated shaking of the flask the soluble portion of the molten mass is dissolved; filter after allowing to settle; into the filtrate put 300 to 400 parts of bronze powder of any desired shade, the brocades being especially well adapted for this purpose. If the metallic powder remains distributed over the mass for a long time it is of the right consistency; if it deposits quickly it is too thin and a part of the solvent must be evaporated before stirring in the bronze powder. III. — ^A liquid bronze, which, while it contains no metallic constituent, yet possesses a metallic luster and a bronze appearance, and answers excellently for many purposes, is made as follows: Dissolve by the aid of gentle heat 10 parts of aniline red and 5 parts of aniline purple in 100 parts of alcohol. When solution is complete, add 5 parts of ben- zoic acid, raise the heat, and let boil from 5 to 10 minutes, or until the green- ish color of the mixture passes over to a clear bronze brown. For "marbling" or bronzing paper articles, this answers particularly well. Incombustible Bronze Tincture. — Finely pulverize 5 parts, by weight, of prime Dammar rosin and 1.5 parts of ammonia soda. Heat gently, and stir fre- quently, until no more carbonic acid bub- bles up. Cool and pulverize again. Put the powder into a glass carboy, and pour over it 50 parts of carbon tetrachloride; let this stand for 2 days, stirring fre- quently. Then filter. Ten parts of the fluid are mixed with 5 parts of metallic bronze of any desired shade, and put into bottles. Shake well before using. General Formulas for Bronzing Prepa- rations.^ — I. — Take 240 parts subacetate of copper, 120 parts oxide of zinc in pow- der form, 60 parts borax, 60 parts salt- peter, and 3.5 parts corrosive sublimate. Prepare a paste from it with oil, stir to- gether, and continue v,'orking with boiled unseed oil and turpentine. II. — Dissolve 120 parts sulphate of copper and add 120 parts chipping of tin; stir well and gather the precipitating copper. After complete drying, grind very finely in boiled linseed oil and tur- pentine. III. — Melt in a crucible 60 parts sul- phur and 60 parts stannic acid; stir with a clay tube until the mixture takes on the appearance of Dutch gold and pour out. When cold mix the color with boiled lin- seed oil and turpentine, adding a small quantity of drier. These three bronzes must be covered with a pale, resistant BRONZING lacquer, otherwise they will soon tarnish in rooms where gas is burned. Florentine Bronzes. — I. — To produce a Florentine bronzing, apply to the articles, which must have previously been dipped, a varnish composed of cherry gum lac dissolved in alcohol. This varnish is Cut on with a brush, and after that the ronzed piece is passed through the stove. II. — If the article is of brass it must be given a coat of copper by means of the Dattery. Next dip a brush in olive oil and brush the piece uniformly; let dry for 5 or 6 hours and place in saw- dust. Then heat the article on a mod- erate charcoal dust fire. Preparation of French Bronze. — Frencn bronze may be prepared by re- ducing to a powder hematite, 5 parts, and plumbago, 8 parts, and mixing into a paste with spirit of wine. Apply the composition wi^th a soft brush to the article to be bronzed and set it aside for some hours. By polishing with a toler- ably hard brush tne article will assume the beautiful appearance of real bronze. The desired tint may be regulated by the proportions of the ingredients. How to Bronze Metals. — Prepare a solution of 1 J ounces of sodium hyposul- phite in 1 pint of water and add to the same a solution of IJ ounces of lead acetate dissolved in 1 pint of water. If, instead of lead acetate, an equal weight of sulphuric acid (IJ ounces) is added to the sodium hyposulphite and the process carried on as before, the brass becomes coated with a very beau- tiful red, which changes to green, and finally a splendid brown with a green and red iridescence. This last is a very durable coating and may be especially recommended. It is very difficult to obtain exact shades by this process with- out some experience. The thorough cleansing of all articles from grease by boiling in potash is absolutely necessary to success. By substituting other metal salts for the lead acetate many changes in tints and quality of the coatings can also be effected. When this mixture is heated to a tem- perature a little below the boiling point it precipitates sulphide of lead in a state of fine division. If some metal is pres- ent some of the lead is precipitated on the surface and, according to the thick- ness of the layer, different colors are pro- duced. To produce an even color the articles must be evenly heated. By im- mersion of brass articles for 5 minutes the same may be coated with colors varying from gold to copper red, then to carmine, dark red, and from light blue to blue white, and at last a reddish white, depending on the time the metal remains in the solution and the temperature used. Iron objects treated in this solution take a steel-blue color, zinc a brown color. In the case of copper objects a golden yellow cannpt be obtained. New Bronzing Liquid. — Dissolve 10 parts of fuchsine and 5 parts of aniline purple in 100 parts of alcohol (95 per cent) and add to the solution 5 parts of ben- zoic acid. Boil the whole for 10 min- utes until the color turns bronze brown. This liquid can be applied to all metals and dries quickly. A Bronze for Brass. — Immerse the articles, freed from dirt and grease, in a cold solution of 10 parts of potassium permanganate, 50 parts of iron sulphate, 5 parts of hydrochloric acid in 1,000 parts of water. Let remain 30 seconds, then withdraw, rinse, and let dry in fine, soft sawdust. If the articles have be- come too dark, or if a reddish-brown color be desired, immerse for about 1 minute in a warm (140° F.) solution of chromic acid, 10 parts; hydrochloric acid, 10 parts; potassium permanganate, 10 parts; iron sulphate, 50 parts; water, 1,000 parts. Treat as before. If the latter solution alone be used the product will be a brighter dark-yellow or red- dish-brown color. By heating in a dry- ing oven the tone of the colors is im- proved. To Bronze Copper. — This process is analogous to the one practiced at the Mint of Paris for bronzing medals. Spread on the copper object a solution composed of: Acetate or chlorhy- drate of ammonia. . 30 parts Sea salt 10 parts Cream of tartar 10 parts Acetate of copper .... 10 parts Diluted acetic acid. . . 100 parts Let dry for 24 to 48 hours at an ordi- nary temperature. The surface of the metal will become covered with a series of varying tints. Brush with a waxed brush. The green portions soaked with chlorhydrate of ammonia will assume a blue coloring, and those treated with carbonate will be thick and darkened. Bronzing and Patinizing of Small Zinc Articles.— Coatings of bronze tones and patina shades may be produced on zinc by means of various liquids, but the BRONZING 187 articles, before being worked upon, should be rubbed down with very fine glass or emery paper, to make them not only perfectly metallic, but also some- what rough, as a consequence of which the bronze or patina coalings will adhere much better. The best bronze or pa- tina effects on bronze are obtained by electroplating the article with a fairly thick deposit of brass rich in copper and then treating it like genuine bronze. The solutions used, however, must always be highly diluted, otherwise they may eat entirely through the thin metallic coat- ing. Bronzing of Zinc.^ — Mix thoroughly 30 parts of sal ammoniac, 10 parts of oxalate of potash, and 1,000 parts of vinegar. Apply with a brush or a rag several times, until the desired tint is produced. Bronze Gilding on Smooth Moldings. — A perfect substitute for dead gilding can- not be obtained by bronzing, because of the radically different reflection of the light, for the matt gilding presents to the light a perfectly smooth surface, while in bronzing every little scale of bronze reflects the light in a different direction. In consequence of this diffusion of light, all bronzing, even the best executed, is somewhat darker and dimmer than leaf gilding. This dimness, it is true, ex- tends over the whole surface, and there- fore is not perceptible to the layman, and cannot be called an evil, as the genuine leaf gold is so spotted that a bronzed surface is cleaner than a gilt one. The following process is the best known at present: Choose only the best bronze, which is first prepared thick with pure spirit. Next add a quantity of water and stir again. After the precipitation, which occurs promptly, the water is poured off and renewed rejjeatedly by fresh water. When the spirit has been washed out again in this manner, the re- maining deposit, i. e., the bronze, is thinned with clean, good gold size. The bronze must be thin enough just to cover. The moldings are coated twice, the second time commencing at the op- posite end. Under no circumstances should the dry, dead gilding give off color when grasping it firmly. If it does that, either the size is inferior or the so- lution too weak or the mixture too thick. Incombustible Bronze Tinctoe.— Five parts of prime dammar rosin and 1.5 parts of ammonia soda, very finely pul- verized. Heat gently, with frequent stirring, until the evolution of carbonic acid ceases. Then take from the fire, and when cool pulverize again. Put the powder into a glass carboy, and pour over it 50 parts of carbon tetrachloride; let this stand for 2 days, stirring fre- quently, then filter. Ten parts of the fluid arc to be mixed with each 6 parts of metallic bronze of any desired shade, and put into bottles. Shake the tincture well before using. Bronzing Engraved Ornaments. — Take bronze and stir with it pale copal varnish diluted one-half with turpentine. With this paint the ornaments neatly. In J hour the bronze will have dried. The places from which the bronze is to be removed, i. e., where the bronze has overrun the polished surface, are dabbed with a small rag soaked with kerosene, taking care that it is not too wet, so as to prevent the kerosene from running into the ornament. After a short while the bronze will have dissolved and can be wiped off with a soft rag. If this does not remove it entirely, dab and wipe again. Finally finish wiping with an especially soft, clean rag. Kerosene does not attack polish on wood. The bronze must become dull and yet adhere firmly, under which condition it has a hardened color. If it does not become dull the varnish is too strong and should be diluted with turpentine. Durable Bronze on Banners. — To render bronzes durable on banners, etc., the ground must be primed with gum arable and a little glycerine. Then ap- ply the bronze solution, prepared with dammar and one-tenth varnish. In- stead of gum arabic with glycerine, gela- tine glue may also be employed as an underlay. BRONZE STJBSTITUTES. The following recipe is used in making imitation gold bronzes: Sandarac 60 parts Mastic 10 parts Venice turpentine. . . 5 parts Alcohol 135 parts In the above dissolve: Metanil yellow and gold orange 0.4 parts and add Aluminum, finely powdered 20 parts and shake. If a deeper shade is desired it is well to use ethyl orange and gold orange in the same proportion, instead of the dyes. For the production of imitation copper bronze take the above-mentioned rosin mixture and dissolve therein only gold 138 BRONZING orange 0.8 parts, and add aluminum 20 parts, whereby a handsome copper color IS produced. Metanil yellow 0.4 parts without gold orange gives with the same amount of lacquer a greenish tone of bronze. The pigments must not be made use of in larger quantities, because the luster of the bronze is materially affected. Only pigments of certain properties, such as solubility in alcohol, relative constancy to reductive agents, are suitable; unsuitable are, for instance, naphthol yellow, phenylene-diamin, etc. Likewise only a lacquer of certain com- position is fit for use, other lacquers of commerce, such as zapon (celluloid) lacquer being unsuitable. The bronzes prepared in this manner excel in luster and color effect; the cost is very low. They are suitable for bronzing low- priced articles, as tinware, toys, etc. Under the action of sun and moisture the articles lose some of their luster, but ob- jects kept indoors such as figures of plas- ter of Paris, inkstands, wooden boxes, etc., retain their brilliancy for years. Some use powdered aluminum and yel- low organic dyestuffs, such as gold orange. These are employed together with a var^ nish of certain composition, which im- parts the necessary gloss to the mixture. BRONZE COLORING: To Color Bronze. — Bronze articles ac- quire handsome tempering colors by heating. In order to impart an old ap- pearance to new objects of bronze, they may be heated over a flame and rubbed with a woolen rag dipped in finely pow- dered graphite, until the desired shade is attained. Or else a paste is applied on the article, consisting of grapnite 5 parts and bloodstone 15 parts, with a suf- ficient quantity of alcohol. After 24 hours brush off the dry powder. A hot solution composed of sal ammoniac 4 parts, sorrel salt 1 part, vinegar 200 parts, may also be brushed on. Another wajy is to dip the pieces into a boiling so- lution of cupric acetate 20 parts, and sal ammoniac 10 parts, dissolved in 60 to 100 parts of vinegar. Patent bronzes (products colored by means of aniline dyes) have hitherto been used in the manufacture of toys and de luxe or fancy paper, but makers of wall or stained paper have recently ^ven their attention to these products. Wall — or moirS — paper prepared with these dyes furnishes covers or prints of silken ^loss with a peculiar douole-color effect in which the metallic brilliancy charac- teristic of bronze combines with the shades of the tar pigments used. Very beautiful reliefs, giving rise to the most charming play of colors in perpendicular or laterally reflected light, are produced by pressing the paper lengths or web Cainted with aniline-bronze dyes. The rass brocade and tin bronzes serve as bases for the aniline dyes ; of the tar pig- ments only basic aniline dyes soluble m alcohol are used. In coloring the pul- verized bronze care must be taken that the latter is as free as possible from or- ganic fats. Tar dyes should be dis- , solved in as concentrated a form as pos- sible in alcohol and stirred with the bronze, the pigment being then fixed on the vehicle with an alcoholic solution of tannin. The patent bronze is then dried by allowing the alcohol to evapo- rate. This method of coloring is purely mechanical, as the tar dyes do not com- bine with the metallic bronze, as is the case with pigments in which hydrate of alumina is used. A coating of aniline bronze of this kind is therefore very sen- sitive to moisture, unless spread over the paper surface with a suitaole protect- ive binding medium, or protected by a transparent coat of varnish, which of course must not interfere with the special color effect. Pickle for Bronzes. — Sulphuric acid, 1,000 parts; nitric acid, 500 parts; soot, 10 parts; sea salt, 5 parts. Imitation Japanese Bronze. — When the copper or coppered article is per- fectly dry and the copper or copper coating made brilliant, which is produced by rubbing with a soft brush, put graph- ite over the piece to be bronzed so that the copper is simply dyed. Wipe off the raised portions with a damp clotn, so that the copper makes its appearance. Next put on a thin coat of Japanese var- nish; wipe the relief again and let dry. Apply 1 or 2 coats after the first is per- fectly dry. Handsome smoked hues may be obtained by holding the bronze either over the dust of lighted peat or powdered rosin thrown on lighted coal, so as to obtain a smoke which will change the color of the varnish employed. The varnish must be liq^uid enough to be worked easily, for this style of bronzing is only applicable to brass. Green Bronze on Iron. — Abietate of silver, 1 part; essence of lavender, 19 parts. Dissolve the abietate of silver in the essence of lavender. After the arti- cles have been well pickled apply the abietate-of -silver solution with a brush; next place the objects in a stove and let the temperature attain about 150° C. Blue Bronze. — Blue bronze is pro- BRONZING 139 duced by the wet process by cploring white bronze (silver composition) with aniline blue. A blue-bronze color can be E reduced in the ordinary way from white- ronze color, the product of pure Eng- lish tin, and with an alum solution con- sisting of 20 parts of alum in 4,500 parts of water boiled for 6 hours and washed clean and dried. The bronze prepared in this manner is placed in a porcelain dish, mixed with a solution of 15 parts of aniline blue in 1,600 parts of alcohol, stirring the bronze powder and liquid until the alcohol has evaporated entire- ly and the bronze color becomes dry. This manipulation must be repeated 6 or 8 times, until the desired blue shade is reached. When the bronze is dark enough it is washed out in warm water, and before entirely dry 1 tablespoonful of petroleum is poured on 2 pounds of bronze, which is intimately mixed and spread out into a thin layer, exposed to the air, whereby the smell is caused to disappear in a few days. Bronzing with Soluble Glass. — To bronze wood, porcelain, glass, and metal by means of a water-glass solution, coat the article with potash water-glass of 30° Be. and sprinKle on the respective bronze powder. Brown Oxidation on Bronze. — Genu- ine bronze can be beautifully oxidized by painting it with a solution of 4 parts of sat ammoniac and 1 part of oxalium (oxalate of potash) in 200 parts of vine- gar, allowing it to dry, and repeating the operation several times. These articles, protected against rain, soon lose the un- pleasant glaring metallic luster and as- sume instead a soft brown tint, which bronze articles otherwise acquire only after several years' exposure to the at- mosphere. A beautiful bronze color which will remain unaffected by heat can be imparted to bronze articles by the following process: The object is first washed m a solution of 1 part of crystal- lized verdigris and 2 parts of sal ammo- niac in 260 parts of water, and then dried before an open fire till the green color begins to disappear. The operation is repeated 10 to 20 times, but with a solu- tion of 1 part of verdigris crystals and 2 parts of sal ammoniac in 600 parts of water. The color of the article, olive green at first, gradually turns to brown, which will remain unaltered even when exposed to strong heat. BRONZE POWDERS: See also Plating for general methods of bronzing, and Varnishes. Gold and Silver Bronze Powders. — Genuine gold bronze is produced from the waste and parings obtained in gold beating. The parings, etc., are ground with honey or a gum solution, upon a glass plate or under hard granite stones, into a very fine powder, which is re- peatedly washed out with water and dried. There are various shades of gold bronze, viz., red, reddish, deep yellow, pale yellow, as well as greenish. These tints are caused by the various percent- ages of gold or the various mixtures of the gold with silver and copper. By the use of various salt solutions or acidulated substances other shades can be imparted to bronze. In water con- taining sulphuric acid, nitric acid, or hydrochloric acid, it turns a bright yel- low; by treatment with a solution of crys- tallized verdigris or blue vitriol in water it assumes more of a reddish hue; other tints are obtained with the aid of cooking salt, tartar, green vitriol, or saltpeter in water. Gold bronze is also obtained by dis- solving gold in aqua regia and mixing with a solution of green vitriol in water, whereupon the gold falls down as a me- tallic powder which may be treated in different ways. The green vitriol, how- ever, must be dissolved in boiling water and mixed in a glass, drop by drop, with sulphuric acid and stirred until the basic iron sulphate separating in flakes has re- dissolved. Another way of producing gold bronze is by dissolving gold in aqua regia and evaporating the solution in a porcelain dish. When it is almost dry add a little pure hydrochloric acid and repeat this to drive out all the free chlo- rine and to produce a pure hydrochlorate of gold. The gold salt is dissolved in distilled water, taking J liter per ducat (3 J grams fine gold); into this solution drop, while stirring by means of a glass rod, an 8° solution (by Beaume) of an- timony chloride, as long as a precipitate forms. This deposit is gold bronze, which, dried after removal of all liquids, is chiefly employed in painting, for bronz- ing, and for china and glass decoration. Metallic gold powder is, furthermore, obtained by dissolving pure and alloyed gold in aqua regia and precipitating it again by an electro-positive metal, such as iron or zinc, which is placed in the licj- uid in the form of rods. The gold is completely separated thereby. The rods must be perfectly clean and polished bright. The color of the gold bronze depends upon the proportions of the gold. In order to further increase the brilliancy the dried substance may still be ground. 140 BRUSHES Mosaic Gold. — Mosaic gold, generally a compound of tin, 64.63 parts, and sul- phur, 35.37 parts, is odorless and taste- less, and dissolves only in chlorine solu- tion, aqua regia, and boiling potash lye. It is employed principally for bronz- ing plaster-of-Paris figures, copper, and brass, by mixing it with 6 parts of bone ashes, rubbing it on wet, or applying it with varnish or white of egg in the prep- aration of gold paper or for gildin'g cardboard and wood. Mosaic gold of golden-yellow color is produced by heat- ing 6 parts of sulphur and 16 parts of tin amalgam with equal parts of mer- cury and 4 parts of sulphur; 8 parts of precipitate from stannic muriate (stannic acid) and 4 parts of sulphur also give a handsome mosaic gold. The handsomest, purest, and most gold-like mosaic gold is obtained by melting 12 parts of pure tin, free from lead, and mixing with 6 parts of mercury to an amalgam. This is mixed with 7 parts of flowers of sulphur and 6 parts of sal ammoniac, whereupon the mass is subjected for several hours to a heat which at first does not attain redness, but eventually when no more fumes are generated is increased to dark -red heat. This bperation is conducted either in a, glass retort or in an earthenware cru- cible. The sal ammoniac escapes first on heating, next vermilion sublimates and some stannic chloride, while the mosaic gold remains on the bottom, the upper layer, consisting of lustrous, golden, delicately translucent leaflets, being the handsomest mosaic gold. Genuine Silver Bronze. — This is ob- tained by the finely ground waste from beating leaf silver or by dissolving silver in aqua fortis. This solution is then diluted with water and brightly scoured copper plates are put in, whereby the silver precipitates as a metallic powder. Imitation Silver Bronze. — This is ob- tained through the waste in beating imi- tation leaf silver, which, finely ground, is then washed and dried. In order to increase the luster it is ground again in a dry condition. Mosaic Silver. — Mosaic silver is an amalgam of equal parts of mercury, bis- muth, and tin. One may also melt 50 parts of good tin in a crucible, and as soon as it becomes liquid add 50 parts of bismuth, stirring all with an iron wire until the bismuth is fused as well. As soon as this occurs the crucible must be removed from the fire; then stir, in, as long as the contents are still liquid, 25 parts of mercury and mix the whole mass evenly until it can be ground on a stone slab. BRONZE VARNISHES-: See Varnishes. BRONZING SOLUTIONS FOR PAINTS : See Paints. BRONZING OF WOOD: See Wood. BROOCHES, PHOTOGRAPHS ON: See Photography. BROWN OINTMENT : See Ointments. BROWNING OF STEEL: See Plating. BROWNSTONE, IMITATION: See Brick Stain. BRUNETTE POWDER: See Cosmetics. Brushes HOW TO TAKE CARE OF PAINT AND VARNISH BRUSHES. It is a good plan to fill the varnish brush before putting it in the keeper. Whitewash or kalsomine brushes should not be put into newly slaked lime or hot kalsomine. Cement-set brushes should never be put in any alcohol mixture, such as shel- lacs and spirit stains. Varnish brushes should be selected with a view to their possessing the follow- ing qualities: 1st, excellence of mate- rial; 2d, excellence of make, which includes fullness of hair or bristles and permanency of binding; 3d, life and spring, or elasticity sufficient to enable the varnisher to spread the varnish with- out reducing it with turpentine; and 4th, springing, when in use, to a true chisel edge. Temperature for Brushes. — The bris- tles of every brush are held in place by the handle. It passes through the shank of the brush and is kiln-dried to fit perfectly. If it shrinks, however, its outward tension is lost and the bristles loosened. For this reason the first principle in brush care is to keep the tool, when it is new or not soaking, in a cool place, out of hot rooms, and any temperature that would tend to shrink the wood of the handle. Cleaning Paint Brushes.— No new brush should be dipped in the paint and put to work without first being BRUSHES— BUNIONS 141 cleaned. By working it with a brisk movement back and forth through the hand most of the dust and loose hairs will be taken out. A paint brush, when thus thoroughly dry cleaned, should be f>laced in water for a few minutes, not ong enough to soak or swell it, but only until wet through, and then swung and shaken dry. It is then ready to dip in the paint, and although some of the hairs may still be loose, most of them will come out in the first few minutes' work- ing and can be easijy picked from the surface. Cleaning Varnish Brushes. — Varnish brushes, and brushes used in varnish stain, buggy paint, and all color in var- nish require different handling than paint brushes. They should be more thoroughly dry cleaned, in order that all loose hairs may be worked out. After working them through the hand it is a good thing to pass the brush back and forth over a sheet of sandpaper. This rough surface will pull out the loose bristles and smooth down the rough ends of the chisel point. The brush should then be washed by working it for a few minutes in clean turpentine and swinging it dry. It should never be put in water. For carriage work and fine varnishing the brush should be broken in on the rubbing coat in order to work out all the dust particles before it is used on the finishing coats. Setting the Paint -Brush Bristles. — For the first 2 or 3 days new brushes require special care while at rest. They should be dipped in raw oil or the paint itself and smoothed out carefully, then laid on their sides over night. The chisel-pointed brushes should be set at an incline, the handle supported just enough to allow the brush to lie along the point. This is done to prevent twist- ing of the bristles, and to keep the shape of the brush. It is necessary to do this only 2 or 3 times before the shape becomes set. , Paint Brushes at Rest. — An impor- tant principle in brush care is never to leave the brush on end while at rest. Even for temporary rest during a job the brush should never stand on end. At night it should always be placed in a "brush-keeper" — a water-tight box, or a paint keg, with nails driven through the sides on which the brushes can be sus- pended in water. Holes are bored in the handles so the brush will hang free of the bottom, but with the bristles en- tirely under water. Before placing them in water the brushes should be wiped so as not to be too full of paint, but not cleaned. Varnish Brushes at Rest. — Varnish brushes should be kept at rest in tur- pentine and varnish, or better, in some of the varnish that the brush is used for. They should preferably not be kept in turpentine, as that makes the brush '■ lousy" — roughening the bristles. Washing Brushes. — All brushes should be washed in benzine or turpentine and shaken dry — not whipped — when it is desired to change from one color to an- other, or from one varnish to another. To Restore Brushes. — A good remedy to restore lettering brushes which have lost their elasticity and do not keep a point, is as follows: Put the pencil in oil and brush it sev- eral times over a hot iron in such a man- ner that the hairs touch the iron from each side; then dip the pencil quickly in cold water. A Removable Binding. — The bristle bunch of brushes is bound with rope so as to keep them together for use. In- stead of the twine, a covering of rubber may be employed, which is easily slipped over the bristles and can be conveniently removed again. The cleaning of the brush is much facilitated thereby, and the breadth of the stripe to be drawn with the brush can be accurately regu- lated, according to how far the covering is slipped over the brush. See also Cleaning Preparations aJ«d Methods. BUBBLES IN GELATIN : See Gelatin. BUBBLE (SOAP) LIQUID: See Soap Bubble Liquid. BUBBLES. Bubbles of air often adhere to molds immersed in depositing solutions. They may be prevented by previously dipping the object into spirits of wine, or be re- moved by the aid of a soft brush, or by directing a powerful current of the lic^uid against them by means of a vulcanized india-rubber bladder, with a long and curved glass tube attached to it; but the liquid should be free from sediment. BUG KILLERS: See Insecticides. BUNIONS : See Corn Cures. 142 BURNS— BUTTER BURNS : See also Ointments and Turpentine. Mixture for Biums. — I. — A mixture of castor oil with the white of egg is recom- mended for burns. The eggs are broken into a bowl and the castor oil slowly poured in while the eggs are beaten. Enough oil is added to make a thick, creamy paste, which is applied to the burn. The applications are repeated often enough to prevent their becoming dry or sticky. Leave the surface un- covered. II. — Put 27 parts, by measure, of menthol into 44 parts, by measure, of witch hazel (distillate) and apply freely. A good plan is to bandage the parts and wet the wrappings with this mixture. III. — A very efficacious remedy for burns is a solution of cooking salt in water. It is best to immerse fingers, hands, and arms in the solution, wnich must be tolerably strong. For burns in the face and other parts of the body, salt water poultices are applied. Butter (See also Foods.) Butter Color. — Orlean, 80 parts, by weight; curcuma root (turmeric), 80 parts, by weight; olive oil, 240 parts, by weight; saffron, 1 part, by weignt; alco- hol, 5 parts, by weight. The orlean and turmeric are macerated with olive oil and expressed. The weight of the filtered liquid is made up again to 240 parts, by weight, with olive oil, next the filtered saffron-alcohol extract is added, and the alcohol is expelled again by heating the mixture. Artificial Butter.— I.— Carefully washed beef suet furnishes a basis for the manufactures of an edible substitute for natural butter. The thoroughly washed and finely chopped suet is ren- dered in a steam-heated tank; 1,000 parts of fat, 300 parts of water, 1 part of potassium carbonate, and 2 stomachs of pigs or sheep, are taken. The temper- ature of the mixture is raised to 113° F. After 2 hours, under the influence of the pepsin in the stomachs, the membranes are dissolved and the fat is melted and rises to the top of the mixture. After the addition of a little salt the melted fat is drawn off, stood to cool so as to allow the stearine and palmitin to separate, and then pressed in bags in a livdraulic press. Forty to 50 per cent "of solid stearine remains, while 50 to 60 per cent of fluid oleopalmitin (so-called "oleo- margarine") IS pressed out. The "oleo oil" IS then mixed with 10 per cent of its weight of milk and a little butter color and churned. The product is then worked, salted, and constituted the "oleomargarine," or butter substitute. Leaf lard can be worked in the same way as beef suet, and will yield an oleopal- mitin suitable for churning up into a butter substitute. XL- — Fat from freshly slaughtered cattle after thorough washing is placed in clean water and surrounded witn ice, where it is allowed to remain until all animal heat has been removed. It is then cut into small pieces by machinery and cooked at a temperature of about 150° F. (65.6° C.) until the fat in liquid form has separated from the tissue, then settled until it is perfectly clear. Then it is drawn into the graining vats and allowed to stand for a day, wnen it is ready for the presses. The pressing extracts the stearine, leav- ing a product commercially known as oleo oil which, when churned with cream or milk, or both, and with usually a pro- Cortion of creamery butter, the whole eing properly salted, gives the new food product, oleomargarine. III. — In making butterine use neutral lard, which is made from selected leaf lard in a very similar manner to oleo oil, excepting that no stearine is extracted. This neutral lard is cured in salt brine for from 48 to 70 hours at an ice-water temperature. It is then taken and, with the desired proportion of oleo oil and fine butter, is churned with cream and milk, producing an article which when proper- ly salted and packed is ready for the market. In both cases coloring matter is used, which is the same as that used by da.irymen to color their butter. At cer- tain seasons of the year — viz., in cold weather, a small quantity of sesame oil or salad oil made from cottonseed oil is used to soften the texture of the product. IV. — "Ankara" is a substance which in general appearance resembles a good article of butter, being rather firmer at ordinary temperatures than that sub- stance, approaching the consistency of cocoa_ butter. It is quite odorless, but in taste it resembles that of a fair article of butter and, what is more, its behavior under heat is very similar to that of but- ter — it browns and forms a sort of spume like that of fat. Ankara consists of a base of cocoa butter, carrying about 10 per cent of milk, colored with yolk of egg. While not derived from milk, on the one hand, nor does it come from a single vegetable or animal fat pn the other, an- BUTTER— CAF^ PARFAIT 143 kara may be considered as belonging to the category of the margarines. An- kara is obtained in the market in the form of cakes or tablets of 2 pounds in weight. V. — Fresh butter, ISO parts, by weight; animal fat, 80 parts, by weight; sun- flower oil, 40 parts, by weight; cocoanut oil, SO parts, by weight. VI. — Fresh butter, 100 parts, by weight; animal fat, 100 parts, by weight; sunflower oil, 80 parts, by weight; cocoa- nut oil, 20 parts, by weight. VII. — Fresh butter, 50 parts, by weight; animal fat, 150 parts, by weight; sunflower oil, 80 parts, by weight; cocoa- nut oil, 20 parts, oy weight. It is seen that these three varieties contain respectively 50, 33, and about 16 per cent of cow's butter. The appear- ance of the mixture is nearly perfect. Formulas V to VII are for a Russian arti- ficial butter called " Perepusk." To Impart the Aroma and Taste of Natural Butter to Margarine. — In order to give margarine the aroma and flavor of cow butter, add to it a fatty acid product, which is obtained by saponification of butter, decomposition of the soap, and distillation in the vacuum at about 140° F. The addition of the product is made upon emulsification of the fats with milk. The margarine will keep for months. Harmless Butter Color. — Alum, pul- verized finely, 30 parts; extract of tur- meric, 1 part. With the extract damp- en the powder as evenly as possible, then spread out and dry over some hot sur- face. When dry, again pulverize thor- oughly. Protect the product fi;pm the light. As much of the powder as will lie on the point of a penlcnife is added to a churnful of milk, or cream, before churning, and it gives a beautiful golden color, entirely harmless. To make the extract of turmeric add 1 part of pow- dered turmeric to 5 parts of alcohol, and let macerate together for fully a week. To Sweeten Rancid Butter.— I.— Wash the butter first with fresh milk and after- wards with spring water, carefully work- ing out the residual water. II. — Add 25 to 30 drops of lime chlor- ide to every 2 pounds of butter, work the mass up thoroughly, then wash in plenty of fresh, cold water, and work out the residual water. III. — Melt the butter in a water bath, along with some freshly burned animal charcoal, coarsely powdered and care- fully sifted to free it from dust. After this has remained in contact for a few minutes, the butter is strained through a clean flannel. If the r^acid odor is not completely removed, complete the process. An English Margarine. — A mixture of edible fats of suitable consistency, e. g., oleo oil, 5 parts; neutral lard, 7 parts; and butter, 1 part; is mixed with albuminous "batter," 4 parts, with the addition of 1 part of salt as a preservative. If the albuminous constituent be composed of the whites and yolks of eggs beaten to a foam the product will have the consist- ency and color of butler. The molten fats are added to the egg batter and the whole is stirred at a temperature suffi- cient to produce coagulation of the albu- men (150-200° F.). The mass is then cooled gradually with continuous stir- ring, and the salt is worked in. Olive-Oil Paste. — If an ounce of peeled garlic be rubbed up into a pulp, in a clean Wedgwood mortar, and to this be added from 3 to 4 ounces of good olive oil, with constant rubbing up with the pestle, the oil becomes converted into a pasty mass, like butter. It is possible that the mucilage obtainable from other bulbs of the Luium tribe would prove equally eflScient in conferring semi- solidity on the oil, without imparting any strong smell. The above composition is largely used by the Spanish peasantry, instead of butter, which runs liquid in the Spanish summer. It is known as "aleoli." The more easily solidified portion of olive oil is stearine, and this may be cheaply prepared from mutton fat. If added, in certain proportions, to olive oil, it would certainly raise its melt- ing point. BUTTERMILK, ARTIFICIAL. Buttermilk powder, 10 parts; vinegar, 1 part; syrup of buckthorn, 1 part. Dis- solve the powder in the water and add the vinegar and syrup. The powder is prepared as follows: Sodium chloride, 50 parts; milk sugar, 100 parts; potas- sium nitrate, 5 parts; alum, 6 parts. Mix. BUTTER, ARTIFICIAL: TESTS FOR: See Foods. BUTTER COLORANT: See Foods. BUTTONS OF ARTIFICIAL AGATE: See Agate. CADMIUM ALLOYS: See Alloys. 144 CALAMUS CORDIAL— CAMPHOR CALCIUM CARBIDE: Preservation and Use of Calcium Carbide. — Calcium carbide is readily at- tacked by the air and the moisture con- tained in the generators and consequent-' ly decomposes during the storing, with formation of acetylene gas. Aside from the loss, this decomposition is also at- tended with dangers. One of the oldest methods of preservation is the saturation of the carbide with petroleum. In using such carbide a layer of petroleum forms on the surface of the water in the gener- ator, which prevents the water from evaporating, thus limiting the subse- quent generation of acetylene from the remaining carbide. Instead of petro- leum many other substances have been proposed which answer the purpose equally well, e. g., toluol, oils, solid bodies, which previously have to be liquefied, such as stearine, paraffine, rosin, etc. Of a different nature is a medium of- fered by Letang of Paris. He em- ploys sugar or saccharine bodies to which he adds, if necessary, a little petroleum, turpentine, vaseline, or varnish of any kind, as well as chalk, limestone, talc, sulphur, or sand. The carbide is coated with this mixture. The saccharine sub- stances dissolve in the generating water, and also have a dissolving action on the slaked lime, which is formed by the de- composition of the carbide which admits of its easy removal. According to another process carbide is put on tne market in such a shape that, without weighing, merely by count- ing or measuring one is in a position to use equivalent quantities for every charge. Gearing casts molten carbide in the shape of bars, and pours a layer of gela- tin, glue, and water soluble varnish over the carbide bars. Others make shells containing a certain quantity of reduced carbide. For this ordinary and varnished pasteboard, wax paper, tin- foil, thin sneet zinc, and similar sub- stances may be used which ward off atmospheric moisture, thus protecting the carbide from premature decompo- sition. Before use, the cartridge-like shell is pierced or cut open, so that the water can get at the contents. The more or less reduced carbide is filled in the shell, either without any admixture or united into a compact mass by a bind- ing agent, such as colophony, pitch, tar, sand, etc. Deodorization of Calcium Carbide. — Calcium carbide is known to possess a very unpleasant odor because it con- stantly develops small quantities of im- pure acetylene in contact with the mois- ture of the air. Le Roy, of Rouen, proposes for portable — especially bicy- cle — lamps, in which the evil is more noticeable than in large plants, simply to pour some petroleum over the carbide and to pour off the remainder not ab- sorbed. The petroleum, to which it is well to add some nitro-benzol (mir- bane essence), prevents the access of air to the carbide, but permits a very satis- factory generation of gas on admission of water. CALCIUM SULPHIDE (LUMINOUS): See Paints. CALFSKIN : See Leather. CAMERA RENOVATION: See Photography. CAMPHOR PREPARATIONS: Fragrant Naphthalene Camphor. — Naphthalene white, in scales 3,000 parts Camphor 1,000 parts Melt on the steam bath and add to the hot mass: Coumarin 2 parts Mirbane oil 10 parts Cast in plates or compressed tablets. The preparation is employed as a moth preventive. Powdered Camphor in Permanent Form. — I. — Powder the camphor in the usual manner, with the addition of a little alcohol. When it is nearly reduced to the proper degree of fineness add a few drops of fluid petrolatum and imme- diately triturate again. In this manner a powder as fine as flour is obtained, which does not cake together. This powdered camphor may be used for all purposes except for solution in alcohol, as it will impart to the latter a faint opal- escence, owing to the insolubility of the petrolatum. II. — Take equal parts of strong ether and alcohol to reduce the camphor to powder. It is claimed for this method that it only takes one-half of the time required when alcohol alone is used, and that the camphor dries more quickly. Before sifting add 1 per cent of white vaseline and 5 per cent of sugar of milk. Triturate fairly dry, spread out in the air, say 15 minutes, then pass through a moderately fine wire sieve, using a stubby shaving brush to assist in working it through. CAMPHOR— CANDLES 145 Camphor Pomade — Oil of bitter almonds. 1 drachm Oil of cloves 20 drops Camphor 1 J ounces White wax 4 ounces Lard, prepared 1 pound Melt the wax and lard together, then idd the camphor in saturated solution in spirit; put in the oils when nearly 3uld. Camphor Ice. — I. — White wax 16 parts Benzoated suet 48 parts Camphor, powdered . 8 parts Essential oil, to perfume. Melt the wax and suet together. When nearly cold, add the camphor and perfume, mix well, and pour into molds. II. — Oil of almond ]6 parts White wax 4 parts Spermaceti 4 parts Paraffine 8 parts Camphor, powdered. 1 part Perfume, quantity sufficient. Dissolve the camphor in the oil by the aid of a gentle heat. Melt the solids to- gether, remove, and let cool, but before the mixture begins to set add the cam- phorated oil and the perfume, mix, and pour into molds. lU. — Stearine (stearic acid) 8 pounds Lard 10 pounds White wax 5 pounds Spermaceti 5 pounds Melt on a water bath in an earthen or porcelain dish; strain into a similar ves- sel; add a solution of 2 ounces powdered borax in 1 pound of glycerine, previously warmed, to the melted substance when at the point of cooling; stir well; add cam- phor, 2 pounds, powdered by means of alcohol, 3 ounces; stir well and pour into molds. CAMPHOR SUBSTITUTES IN THE PREPARATION OF CELLULOID : See Celluloid. CAMPHOR AND RHUBARB AS A REMEDY FOR CHOLEPJi.: See Cholera Remedies. CAN VARNISH: See Varnishes. CANARY-BIRD PASTE. The following is a formula much used- by German canary-bird raisers: Sweet almonds, blanched 16 parts Pea meal 32 parts Butter, fresh (un- salted) 3 parts Honey, quantity sufficient to make a stiff paste. The ingredients are worked into a stiff paste, which is pressed through a colander or large sieve to granulate the mass. Some add to every 5 pounds, 10 or 15 grains of saffron and the yolks of 2 eggs. CANARY BIRDS AND THEIR DIS- EASES : See Veterinary Formulas. CANDLES : Coloring Ceresine Candles for the Christmas Tree. — For coloring these candles only dye stuffs soluble in oil can be employed. Blue: 23-24 lav- ender blue, pale or dark, 100-120 parts per 5,000 parts of ceresine. Violet: 26 fast violet K, 150 parts per 5,000 parts of ceresine. Silver gray: 29 silver gray, 150 parts per 5,000 parts of ceresine. Yellow and orange: 30 wax yellow, me- dium, 200 parts per 5,000 parts of cere- sine; 61 old gold, 200 parts per 5,000 parts of ceresine. Pink and red: 27 peach-pink, or 29 chamois, about 100 parts per 5,000 parts of ceresine. Green: 16-17 brilliant green, 33 May green, 41 May green, 200-250 parts per 5,000 parts of ceresine. The above-named colors should be ground in oil and the ceresine tinted with them afterwards. Manufacture of Composite ParaflBne Candles. — Three parts of hydroxy- stearic acid are dissolved in 1 part of a suitable solvent (e. e., stearic acid), and the solution is mixed with paraffine wax to form a stock for the manufacture of composite candles. Transparent Candles. — The following are two recipes given in a German patent specification. The figures de- note parts by weight: I. — Paraffine wax, 70; stearine, 15; petroleum, 15. II. — Paraffine wax, 90; stearine, 5; petroleum, 5. Recipe I of course gives candles more transparent than does recipe II. The 15 per cent may be re- garded as the extreme limit consistent with proper solidity of the candles. To Prevent the Trickling of Burning Candles. — Dip the candles in the fol- lowing mixture: Magnesium sulphate 15 parts Dextrin IS parts Water 100 parts The solution dries quickly and does not affect the burning of the caudle. l46 CANDLE— CARAMELS Candle Coloring. — Candles are colored either throughout or they sometimes consist of a white body that is covered with a colored layer of paraffine wax. According to the material from which candles are made (stearine, paraffine, or ozokerite), the process of coloring varies. Stearine, owing to its acid character, dissolves the coal-tar colors much more readily than do the perfectly neutral par- affins and ozokerite waxes. For coloring stearine the necessary quantity of the color is added to the melted mass and well stirred in; if the solution effected happens to be incomplete, a small addi- tion of alcohol will prove an effective remedy. It is also an advantage to dis- solve the colors previously in alcohol and add the concentrated solution to the melted stearine. The alcohol soon evap- orates, and has no injurious effect on the quality of the stearine. For a number of years there have been on the market so-called " fat colors," formed by making concentrated solu- tions of the color, and also special, prep- arations of the colors in stearine. They are more easily applied, and are, there- fore, preferred to the powdered aniline colors, which are apt to cause trouble by being accidentally distributed in soluble particles, where they are not wanted. Since paraffine and ozokerite dissolve comparatively little, they will not be- come colored;, and so must be colored indirectly. One way is to dissolve the color in oleic acid or in stearine acid and add the solution to the wax to be col- ored. Turpentine may be employed for the same purpose. Concerning the colors suitable for candles, there are the eosine colors previously mentioned, and also chroline yellow, auramine, taniline blue, tartrazine, brilliant green, etc. The latter, however, bleaches so rapidly that it can hardly be recommended. An interesting phenomenon is the change some colors undergo in a warm tem- perature; for instance, some blues turn red at a moderate degree of heat (120° F.) and return to blue only when com- pletely cooled off; this will be noticed while the candle mixture is being melted previous to molding into candles. CANDLES (FUMIGATING) : See Fumigants. CANDY COLORS AND FLAVORS: See Confectionery. CANDY : See Confectionery. CANVAS WATERPROOFING: . See Waterproofing. , CAOUTCHOUC : See Rubber. CAOUTCHOUC SOLUTION FOR PAINTS : See Paint. CAPPING MIXTURES FOR BOTTLES: See Bottle-Capping Mixtures. CAPSULE VARNISH: See Varnishes. CARAMEL : Cloudless Caramel Coloring. — I. — When it is perfectly understood that in the manufacture of caramel, sugar is to be deprived of the one molecule of its water of constitution, it will be apparent that heat must not be carried on to the point of carbonization. Cloudy cara- mel is due to the fact that part of the sugar has been dissociated and reduced to carbon, which is insoluble in water. Hence the cloudiness(. Caramel may be made on a small scale in the following manner: Place 4 or 5 ounces of granu- lated sugar in a shallow porcelain-lined evaporating dish and apply either a, direct heat or that of an oil bath, con- tinuing the heat until caramelization takes place or until tumescence ceases and the mass has assumed a dark-brown color. Then carefully add sufficient water to bring the viscid mass to the consistence of a heavy syrup. Extreme care must be taken and the face and hands protected during the addition of the water, owing to the intensity of the heat of the mass, and consequent sput- tering. II. — The ordinary sugar coloring material is made from sugar or glucose by heating it, whil« being constantly stirred, up to a temperature of about 405° F. A metal pan capable of holding nearly ten times as. much as the sugar used, is necessary so as to retain th« mass in its swollen condition. As soon as it froths up so as nearly to fill the pan, an action which occurs suddenly, the fire must instantly be extinguished or re- moved. The finished product will be insoluble if more than about 15 per cent of its weight is driven off by the neat. CARAMEL IN FOOD: See Food. CARAMELS : See Confectionery. CARBOLIC ACID— CARPET SOAP 147 CARBOLIC ACID. Perfumed Carbolic Acid. — I. — Carbolic acid (cryst.). 1 ounce Alcohol 1 ounce Oil bergamot 10 minims Oil eucalyptus 10 minims Oil citronella 3 minims Tincture cudbear. .. . 10 minims Water, to make 10 ounces Set aside for several days, and then filter through fuller's earth. II. — Carbolic acid (cryst.) 4 drachms Cologne water 4 drachms Dilute acetic acid. ... 9 ounces Keep in a cool place for a few days, and filter. Treatment of Carbolic-Acid Burns. — Thoroughly wash the hands with alco- hol, and the burning and tingling will almost immediately cease. Unless em- ployed immediately, however, the alco- hol has no effect. When the time elapsed since the burning is too great for alcohol to be of value, brush the burns with a saturated solution of picric acid in water. Decolorization of Carbolic Acid. — To decolorize the acid the following simple method is recommended. For purify- ing carbolic acid which has already be- come quite brown-red on account of having oeen kept in a tin vessel, the re- ceptacle is exposed for a short time to n temperature of 25° C. (77° F.), thus causing only a part of the contents to melt. In this state the acid is put into glass funnels and left to stand for 10 to 12 days in a room which is likewise kept at the above temperature. Clear white crystals form from the drippings, which remained unchanged, protected from air and light, while by repeating the same process more clear crystals are obtained from the solidified dark col- ored mother lye. In this manner 76 to 80 per cent of clear product is obtained altogether. Disguising Odor of Carbolic Acid.— Any stronger smelling substance will dis- guise the odor of carbolic acid, to an ex- tent at least, but it is a diflScult odor to disguise on account of its persistence. Camphor and some of the volatile oils, such as peppermint, cajeput, caraway, clove, and wintergreen may be used. To Restore Reddened Carbolic Acid. — Demont's method consists in melting the acid on the water bath, adding 12 per cent of alcohol of 95 per cent, letting cool down and, after the greater part of the substance has crystallized out, decanting the liquid residue. The crystals ob- tained in this manner are snowy white, and on being melted yield a nearly color- less liquid. The alcohol may be recov- ered by redistillation at a low tempera- ture. This is a rather costly procedure; CARBOLIC SOAP: See Soap. CARBOLINEUM : See also Paints and Wood. Preparation of Carbolineum. — I. — Melt together 50 parts of American rosin (F) and 150 parts of pale paraffine oil (yel- low oil), and add, with stirring, 20 parts of rosin oil (rectified). II. — Sixty parts, by weight, of black coal tar oil of a specific gravity higher than 1.10; 25 parts, by weight, of creo- sote oil; 25 parts, by weight, of beech- wood tar oil of a higher specific weight than 0.9. Mix together and heat to about 347° F., or until the fumes given off begin to deposit soot. The resulting carbolineum is brown, and of somewhat thick consistency; when cool it is ready for use and is packed in casks. This improved carbolineum is applied to wood or masonry with a brush; the surfaces treated dry quickly, very soon loose the odor of the carbolineum, and are effec- tively protected from dampness and for- mation of fungi. CARBON PRINTING: See Photography. CARBON PROCESS IN PHOTOGRA- PHY: See Photography. CARBONYLE : See Wood. CARBUNCLE REMEDIES: See Boil Remedy. CARDS (PLAYING), TO CLEAN : See Cleaning Preparations and Meth- ods. CARDBOARD, WATERPROOF GLUE FOR: See Adhesives under Cements and Waterproof Glues. CARDBOARD, WATERPROOFING : See Waterproofing. CARMINATIVE^ : See Pain Killers. CARPET PRESERVATION: See Household Formulas. CARPET SOAP: See Soap. 148 CASEIN CARRIAGE-TOP DRESSING: See Leather. CARRON OIL: See Cosmetics. CASE HARDENING: See Steel. Casein Dried Casein, its Manufacture and Uses. — For the production of casein, skimmed milk or buttermilk is used, articles of slight value, as they cannot be employed for feeding hogs or for making cheese, except of a very inferior sort, of little or no alimentive qualities. This milk is heated to from 70° to 90° C. (176°-195° F.), and sulphuric or hydro- chloric acid is added until it no longer causes precipitation. The precipitate is washed to free it from residual lactose, redissolved in a sodium carbonate solu- tion, and again precipitated, this time by lactic acid. It is again washed, dried, and pulverized. It takes 8 gallons of skimmed milk to make 1 pound of dry casein. In the manufacture of fancy papers, or papers that are made to imitate the appearance of various cloths, laces, and silks, casein is very widely used. It is also largely used in waterproof- ing tissues, for preparation of water- proof products, and various articles prepared from agglomeration of cork (packing boards, etc.). With lime water casein makes a glue that resists heat, steam, etc. It also enters into the manu- facture of the various articles made from artificial ivory (billiard balls, combs, toilet boxes, etc.), imitation of celluloid, meerschaum, etc., and is finding new uses every day. Casein, as known, may act the part of an acid and combine with bases to form caseinates or caseates; among these compounds, caseinates of potash, of soda, and of ammonia are the only ones soluble in water; all the others are insol- uble and may be readily prepared by double decomposition. Thus, for ex- ample, 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 ca- sein, 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 pro- longed washing. Pure, ordinary cellu- lose may be incorporated with it by this process, producing a new compound, cheaper than pure cellulose, although possessing the same properties, and capa- ble of replacing it in all its applications. According' to the results desired, in transparency, color, hardness, etc., the most suitable caseinate should be select- ed. 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 mag- nesia, should be chosen; and for colored products the caseinates of iron, copper and nickel will give varied tints. The process employed for the new prod- ucts, with a base of celluloid and casein- ate, is as follows: On one hand casein is dissolved in a solution of caustic soda (100 parts of water for 10 to 25 parts of soda), and this liquid is filtered to separate the matters not dissolved and the impurities. On the other hand, a salt of the base of which the caseinate is desired is dis- solved, and the solution filtered. It is well not to operate on too concentrated a solution. Tne two solutions are mixed in a receptacle provided with a mechan- ical stirrer, in order to obtain the in- soluble caseinate precipitate in as finely divided a state as possible. This precip- itate 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 C resents certain difficulties, and should e done carefully. After the washing the mass is freed from the greater part of water contained, by draining, followed by drying, or energetic pressing; then it is washed in alcohol, dried or pressed again, and is ready to be incorporated in the plastic mass of the celluloid. For the latter immersion and washing it has been found that an addition of 1 to 5 per cent of borax is advantageous, for it renders the mass more plastic, and facil- itates the operation of mixing. This may be conducted in a mixing appara- tus; but, in practice, it is found prefer- able to effect it with a rolling mill, oper- ating as follows : Tne nitro-cellulose is introduced in the jilastic state, and moistened with a solution of camphor in alcohol (40 to 50 parts of camphor in 50 to 70 of alcohol for 100 of nitro-cellulose) as it is prac- ticed 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 CASTING 149 is perfectly homogeneous, and the final mass is sufficiently hard to be drawn out in leaves in the same way as practiced forpure 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 prop- erties. At 90° to 100° C. (194° to 212° F.), it becomes quite plastic, and is easily molded. It may be sawed, filed, turned, and carved without difficulty, and takes on a superb polish. It burns less readily than celluloid, and its com- bustibility diminishes in proportion as the percentage of caseinate increases; finally, the cost price is less than that of celluloid, and by using a large proportion of caseinate, products may be manu- factured at an extremely low cost. Phosphate of Casein and its Pro- duction. — The process is designed to produce a strongly acid compound of phosphoric acid and casein, practically stable and not hydroscopic, which may be employed as an acid ingredient in bakers yeast and for other purposes. The phosphoric acid may be obtained by any convenient method; for example, by decomposing dicalcic or monocalcic phosphate with sulphuric acid. The commercial phosphoric acid may also be employed. The casein may be precipitated from the skimmed milk by means of a suitable acid, and should be washed with cold water to remove impurities. A casein- ate may also be employed, such as a compound of casein and an alkali or an alkaline earth. The new compound is produced in the following way: A sufiicient quantity of phosphoric acid is incorporated with the casein or a caseinate in such a way as to insure sufficient acidity in the resulting compound. The employment of 23 to 25 parts by weight of phosphoric acid with 75 to 77 parts of casein constitutes a good proportion. An aqueous solution of phosphoric acid is made, and the casein introduced in the proportion of 25 to 50 per cent of the weight of the phosphoric acid pres- ent. The mixture is then heated till the curdled form of the casein disappears, and it assumes a uniform fluid form. Then the mixture is concentrated to a syrupy consistency. The remainder of the casein or of tne caseinate is added and mixed with the solution until it is intimately incorporated and the mass becomes uniform. The compound is dried in a current of hot air, or in any other way that will not discolor it, and it is ground to a fine powder. The inti- mate union of the pnosphoric acid and casein during the gradual concentra- tion of the mixture and during the grind- ing and drying, removes the hydroscopic property of the phosphoric acid, and produces a dry and stable product, which may be regarded as a hjfperphos- phate of casein. When it is mixed with water, it swells and dissolves slowly. When this compound is mingled with its equivalent of sodium bicarbonate it yields about 17 per cent of gas. CASEIN CEMENTS: See Adhesives. CASEIN VARNISH: See Varnishes. CASKS : To Render Shrunken Wooden Casks Watertight. — When a wooden receptacle has dried up it naturally cannot hold the water poured into it for the purpose of swelling it, and the pouring has to be repeated many times before the desired end is reached. A much quicker way is to stuff the receptacle full of straw or bad hay, laying a stone on top and then filling the vessel with water. Although the water runs off again, the moistened straw remains behind and greatly assists the swelling up of the wood. CASSIUS, PURPLE OF: See Gold. CASKET TRIMMINGS: See Castings. CASTS (PLASTER), PRESERVATION OF: See Plaster. CASTS, REPAIRING OF BROKEN : See Adhesives and Lutes. CASTS FROM WAX MODELS: See Modeling. Casting Castings Out of Various Metals. — Un- til recent years metal castings were all made in sand molds; that is, the patterns were used for the impressions in the sand, the same as iron castings are pro- duced to-day. Nearly all of the softer metals are now cast in brass, copper, zinc, or iron molds, and only the silver 150 CASTING and German silver articles, like wire real bronze, are cast the old way, in sand. Aluminum can be readily cast in iron molds, especially if the molds have been previously heated to nearly the same temperature as the molten aluminum, and after the molds are full the metal is cooled gradually and the casting taken out as soon as cooled enough to prevent breaking from the shrinkage. Large bicycle frames have been successfully cast in this manner. The French bronzes, which are imi- tations, are cast in copper or brass molds. The material used is principally zinc and tin, and an unlimited number of castings can be made in the mold, but if a real bronze piece is to be produced it must be out of copper and the mold made in sand. To make the castings hollow, with sand, a core is required. This fills the inside of the figure so that the molten copper runs a,round it, and as the core is made out of sand, the same can be after- wards washed out. If the casting is to be hollow and is to be cast in a metal mold, then the process is very simple. The mold is filled with molten metal, and when the operator thinks the desired thickness has cooled next to the walls, he pours out the balance. An experienced man can make hollow castings in this way, and make the walls of any thick- ness. Casket hardware trimmings, which are so extensively used on coffins, es- pecially the handles, are nearly all cast out of tin and antimony, and in brass molds. The metal used is brittle, and requires strengthening at the weak por- tions, and this is mostly done with wood filling or with iron rods, which are secured in the molds before the metal is poured in. Aluminum castings, which one has procured at the foundries, are usually alloyed with zinc. This has a close aflin- ity with aluminum, and alloys readily; but this mixture is a detriment and causes much trouble afterwards. While this alloy assists the molder to produce his castings easily, on the other hand it will not polish well and will corrode in a short time. Those difficulties may be avoided if pure aluminum is used. Plaster of Paris molds are the easiest made for pieces where only a few cast- ings are wanted. The only difficulty is that it requires a few days to dry the plaster thoroughly, and that is abso- lutely necessary to use them successfully. Not only can the softer metals be run into plaster molds, but gold and silver can be run into them. A plaster mold should be well smoked over a gaslight, or until well covered with a layer of soot, and the metal should be poured in as cool a state as it will run. To Prevent the Adhesion of Modeling Sand to Castings. — Use a mixture of finely ground coke and graphite. Al- though the former material is highly por- ous, possessing this quality even as a fine powder, and the fine pulverization is a difficult operation, still the invention attains its purpose of producing an ab- solutely smooth surface. This is ac- complished by mixing both substances intimately and adding melted rosin, whereupon the whole mass is exposed to heat, so that the rosin decomposes, its carbon residue filling up the finest pores of the coke. The rosin, in melting, carries the fine graphite particles along into the pores. After cooling the mass is first ground in edge mills, then again in a suitable manner and sifted. Sur- prising results are obtained with this material. It is advisable to take pro- portionately little graphite, as the dif- ferent co-efficients of expansion of the two substances may easily exercise a dis- turbing action. One-fifth of graphite, in respect to the whole mass, gives the best results, but it is advisable to add plenty of rosin. The liquid mixture must, before burning, possess the con- sistency of mortar. Sand Holes in Cast-Brass Work. — Cast-brass work, when it presents nu- merous and deep sand holes, should be well dipped into the dipping acid before being polished, in order thoroughly to clean these objectionable cavities; and the polishing should be pushed to an ex- tent sufficient to obliterate the smaller sand holes, if possible, as this class of work looks very unsightly, when plated and finished, if pitted all over with mi- nute hollows. The larger holes cannot, without considerable labor, be obliter- ated; indeed, it not infrequently happens that in endeavoring to work out such cavities they become enlarged, as they often extend deep into the body of the metal. An experienced hand knows how far he dare go in polishing work of this awkward character. Black Wash for Casting Molds.— Gumlac, 1 part; wood spirit, 2 parts; lampblack, in sufficient quantity to color. How to Make a Plaster Cast of a Coin or Medal.— The most exact observ- ance of any written or printed directions is no guarantee of success. Practice alone can give expertness in this work. CASTING 161 The composition of the mold is of the most varied, but the materials most gen- erally used are plaster of Paris and "brick dust, in the proportion of 2 parts of the first to 1 of tne second, stirred in water, with the addition of a little sal ammo- niac. The best quality of plaster for this purpose is the so-called alabaster, and the brick dust should be a,s finely powdered as possible. The addition of clay, dried and very finely powdered, is recommended. With very delicate ob- jects the proportion of plaster may be slightly increased. The dry material should be thoroughly mixed before the addition of water. As the geometrically exact contour of the coin or medal is often the cause of breaking of the edges, the operator sometimes uses wax to make the edges appear half round and it also allows the casting to be more easily removed from the second half of the mold. Each half of the mold should be about the thickness of the finger. The keys, so called, of every plaster casting must not be for- eotten. In the first casting some little halt-spherical cavities should be scooped out, which will appear in the second half- round knobs, and which, by engaging with the depressions, will ensure exact- ness in the finished mold. After the plaster has set, cut a canal for the flow of the molten casting mate- rial, then dry the mold thoroughly in an oven strongly heated. The halves are now ready to be bound together with a light wire. When bound heat the mold gradually and slowly and let the mouth of the canal remain underneath while the heating is in progress, in order to prevent the possible entry of dirt or foreign matter. The heating should be continued as long as there is a suspicion of remaining moisture. When finally assured of this fact, take out the mold, open it, and blow it out, to make sure of absolute cleanness. Close and bind again and place on a hearth of fine, hot sand. The mold should still be glowing when the casting is made. The ladle should contain plenty of metal, so as_ to hold the heat while the casting is being made. The presence of a little zinc in the metal ensures a sharp casting. Finally, to ensure success, it is always better to provide two molds in case of accident. Even the most practiced metal molders take this precaution, es- pecially when casting delicate objects. How to Make Castings of Insects. — The object — a dead beetle, for example —is first arranged in a natural position, and the feet are connected with an oval rim of wax. It is then fixed in the cen- ter of a paper or wooden box by means of pieces of fine wire, so that it is perfectly free, and thicker wires are run fronj the sides of the box to the object, which sub- sequently serve to form air channeU in the mold by their removal. A wooden stick, tapering toward the bottom, is placed upon the back of the insect to produce a runner for casting. The boJC IS then filled up with a paste with 3 parts of plaster of Paris and 1 of brick dust, made up with a solution of alum and sal ammoniac. It is also well first to brush the object with this paste to pre- vent the formation of air bubbles. Af- ter the mold thus formed has set, the object is removed from the interior by first reducing it to ashes. It is, there- fore, allowed to dry, very slowly at first, by leaving in the shade at a normal tem- perature (as in India this is much higher than in our zone, it will be necessary to place the mold in a moderately warm place), and afterwards heating gradually to a red heat. This incinerates the ob- ject, and melts the waxen base upon which it is placed. The latter escapes, and is burned as it does so, and the ob- ject, reduced to fine ashes, is removed through the wire holes as suggested above. The casting is then made m the ordinary manner. Casting of Soft Metal Castings. — I. — It is often difficult to form flat back or half castings out of the softer metals so that they will run full, owing mostly to the thin edges and frail connections. In- stead of using solid metal backs for the molds it is better to use cardboard, or heavy, smooth paper, fastened to a wooden board fitted to the back of the other half of the mold. By this means very thin castings may be produced that would be more difficult with a solid metal back. II. — To obtain a full casting in brass molds for soft metal two important goints should be observed. One is to ave the deep recesses vented so the air will escape, and the other is to have the mold properly blued. The bluing is best done by dipping the mold in sul- phuric acid, then placing it on a gas stove until the mold is a dark color. Unless this bluing is done it will be im- possible to obtain a sharp casting. Drosses. — All the softer grades of metal throw off considerable dross, which is usually skimmed off; especially with tin and its composition. Should much of this gather on the top of the molten 152 CASTING metal, the drosses should all be saved, and melted down when there is enough for a kettle full. Dross may be remelted five or six times before all the good metal is out. Fuel. — Where a good soft coal can be had at a low price, as in the middle West, this is perhaps the cheapest and easiest fuel to use; and, besides, it has some ad- vantages over gas, which is so much used in theTlast. A soft-coal fire can be regu- lated to keep the metal at an even tem- perature, and it is especially handy to keep the metal in a molten state during the noon hour. This refers particularly to the gas furnaces that are operated from the power plant in the shop; when this power shuts down during the noon hour the metal becomes chilled, and much time is lost by the remelting after one o'clock, or at the beginning in the morning. Molds. — I. — Brass molds for the cast- ing of soft metal ornaments out of bri- tannia, pewter, spelter, etc., should be made out of brass that contains enough zinc to produce a light-colored brass. While this hard brass is more difficult for the mold maker to cut, the superior- ity over the dark red copper-colored brass is that it will stand more heat and rougher usage and thereby offset the extra labor of cutting the hard brass. The mold should be heavy enough to re- tain sufficient heat while the worker is removing a finished casting from the mold so that the next pouring will come full. If the mold is too light it cools more quickly, and conseguently the cast- ings are chilled and will not run full. Where the molds are heavy enough they will admit the use of a swab and water after each pouring. This chills the casting so that it can be removed easily with the plyers. II. — Molds for the use of soft metal castings may be made out of soft metal. This IS done with articles that are not numerous, or not often used; and may be looked upon as temporary. The molds are made in part the same as when of brass, and out of tin that contains as much hardening as possible. The hard- ening consists of antimony and copper. This metal mold must be painted over several times with Spanish red, which „ tends to prevent the metal from melt- ing. The metal must not be used too hot, otherwise it will melt the mold. By a little careful manipulation many pieces can be cast with these molds. III. — New iron or brass molds must be blued before they can be used for casting purposes. This is done by placing the mold face downward on a charcoal fire, or by swabbing with sul- phuric acid, then placing over a gas flame or charcoal fire untd the mold is perfectly oxidized. IV. — A good substantial mold for small castings of soft metal is made of brass. The expense of making the cast mold is considerable, however, and, on that account, some manufacturers are making their molds by electro-deposition. This produces a much cheaper mold, which can be made very quickly. The electro-deposited mold, however, is very frail in comparison with a brass casting, and consequently must be handled very carefully to keep its shape. The elec- tro-deposited ones are made out of cop- per, and the backs filled in with a softer metal. The handles are secured with Plaster Molds. — Castings of any metal can be done in a plaster mold, provided the mold has dried, at a moderate heat, for several days. Smoke the mold well with a brand of rosin to insure a full cast. Where there are only one or two ornaments or figures to cast, it may be done in a mold made out of dental plaster. After the mold is made and set enough so that it can be taken apart, it shoidd be placed in a warm place and left to dry for a day or two. When ready to use the inside should be well smoked over a gaslight; the mold should be well warmed and the metal must not be too hot. Very good castings may be ob- tained this way; the only objection being the length of time needed for a thorough drying of the mold. Temperature of Metal. — Metals for casting purposes should not be over- heated. If any of the softer metals show blue colors after cooling it is an indi- cation that the metal is too hot. The metal should be heated enough so that it can be poured, and the finisned casting have a bright, clean appearance. The mold may be very warm, then the metal need not be so hot for bright, clean cast- ings. Some of the metals will not stand reheating too often, as this will cause them to run sluggish. Britannia metal should not be skimmed or stirred too much, otherwise there will be too much loss in the dross. CASTING IN WAX: See Modeling. CASTINGS, TO SOFTEN IRON: See Iron. CASTOR OIL 153 CASTOR OIL : Purifying Rancid Castoi Oil. — To clean rancid castor oil mix 100 parts of the oil at 95° F. with a mixture of 1 part of alcohol (96 per cent) and 1 part of sulphuric acid. Allow to settle for 24 hours and then carefully decant from the precipitate. Now wash with warm water, boiling for h hour; allow to settle for 24 hours in well closed vessels, after which time tlie purified oil may bt taken off. How to Pour Out Castor Oil. — Any one who has tried to pour castor oil from a square, 5-gallon can, when it is full, knows how difficult it is to avoid a mess. This, however, may be avoided by hav- ing a hole punched in the cap which screws onto tne can, and a tube, 2 inches long and f of an inch in diameter, sol- dered on. With a wire nail a hole is punched in the top of the can between the screw cap and the edge of the can. This will admit air while pouring. Resting the can on a table, with the screw-cap tube to the rear, the can is carefully tilted forward with one hand and the shop bottle held in the other. In this way the bottle may be filled without spilling any of the oil and that, too, without a funnel. It is preferable to rest the can on a table when pouring from a 1 or 2-gallon square varnish can, when filling shop bottles. With the opening to the rear, the can is likewise tilted forward slowly so as to allow the surface of the liquid to become "at rest." Even mobile liquids, such as spirits of turpentine, may be poured into shop bottles without a fun- nel. Of course, the main thing is that the can be lowered slowly, otherwise the first portion may spurt out over the bot- tle. With 5-gallon round cans it is possible to fill shop bottles in the same inanner by resting the can on a box or counter. When a funnel is used for non- greasy liquids, the funnel may be sli^tly raised with the thumb and little finger from the neck of the bottle, while hold- ing the bottle by the neck between the middle and ring fingers, to allow egress of air. Tasteless Castor Oil. — I. — Pure castor oil . . 1 pint Cologne spirit . . 3 fluidounces Oil of winter- freen 40 minims of sassafras . 20 minims Oil of anise 15 minims Saccharine 5 grains Hot water, a sufficient quantity. Place the castor oil in a gallon bottle. Add a pint of hot water and shake vig- orously for about 15 minutes. Then pour the mixture jnto a vessel with a stopcock at its base, and allow the mix- ture to stand for 12 hours. Draw off the oil, excepting the last portion, which must be rejected. Dissolve the essential oils and saccharine in the cologne spirit and add to the washed castor oil. II. — First prepare an aromatic solution of saccharine as follows: Refined saccharine. . 25 parts Vanillin 5 parts Absolute alcohol. . . . 950 parts Oil of cinnamon .... 20 parts Dissolve the saccharine and vanillin in the alcohol, then add the cinnamon oil, agitate well and filter. Of this liquid add 20 parts to 980 parts of castor oil and mix by agitation. Castor oil, like cod- liver oil, may be rendered nearly taste- less, it is claimed, by treating it as fol- lows: Into a matrass of suitable size put 50 parts of freshly roasted coffee, ground as fine as possible, and 25 parts of puri- fied and freshly prepared bone or ivory black. Pour over the mass 1,000 parts of the oil to be deodorized and rendered tasteless, and mix. Cork the container tightly, put on a water bath, and raise the temperature to about 140° F. Keep at this heat from 15 to 20 minutes, then let cool down, slowly, to 90°, at which temperature let stand for 3 hours. Finally filter, and put up in small, well- stoppered bottles. III. — Vanillin 3 grains Garantose 4 grains Ol. menth. pip.. . . 8 minims Alcoholis 3 drachms Ol. ricinus 12 ounces Ol. olivae (im- ported), quan- tity sufficient ... 1 pint M. ft. sol. Mix vanillin, garantose, ol. menth. pip. with alcohol and add castor oil and olive oil. Dose: One drachm to 2 fluidounces. IV. — The following keeps well: Castor oil 24 parts Glycerine 24 parts Tincture of orange peel' 8 parts Tincture of senega 2 parts Cinnamon water enough to make. 100 parts Mix and make an emulsion. Dose is 1 tablespoonful. V. — One part of common cooking mo- lasses to 2 of castor oil is the best dis- 154 CASTOR OIL— CATATYPY guise for the taste of the oil that can be used. VI.— Castor oil 1 J ounces Powdered acacia. . 2 drachms Sugar 2 drachms Peppermint water. 4 ounces Triturate the sugar and acacia, adding the oil gradually; when these have been thoroughly incorporated add the pep- permint water in small portions, tritu- rating the mixture until an emulsion is formed. VII. — This formula for an emulsion is said to yield a fairly satisfactory prod- uct: Castor oil 500 c.c. Mucilage of acacia 125 c.c. Spirit of gaultheria 10 grams Sugar 1 gram Sodium bicarbonate. 1 gram VIII. — Castor oil. ...... . 1 ounce _ Compound tinc- ture of carda- mom 4 drachms •Oil of wintergreen 3 drops Powdered acacia.. 3 drachms Sugar 2 drachms Cinnamon water enough to make 4 ounces. IX. — Castor oil 12 ounces Vanillin 3 grains Saccharine 4 grains Oil of peppermint. 8 minims Alcohol 3 drachms Olive oil enough to make 1 pint. In any case, use only a fresh oil. How to Take Castor Oil. — The disgust for castor oil is due to the odor, not to the taste. If the patient grips the nostrils firmly before pouring out the dose, drinks the oil complacently, and then thoroughly cleanses the mouth, lips, larynx, etc., with water, removing the last vestige of the oil before removing the fingers, he will not get the least taste from the oil, which is bland and taste- less. It all depends upon preventing any oil from entering the nose during the time while there is any oil present. Castor-Oil Chocolate Lozenges. — Cacao, free from oil . 250 parts Castor oil 250 parts Sugar, pulverized. . . 500 parts Vanillin sugar 5 parts Mix the chocolate and oil and heat in the water, both under constant stirring. Have the sugar well dried and add, stir- ring constantly, to the molten mass. Continue the heat for 30 minutes, then pour out and divide into lozenges in the usual way. CAT DISEASES AND THEIR REME- DIES: See Insecticides and Veteri- nary Formulas. CATATYPY. It is a well-known fact that the reac- tions of the compounds of silver, plat- inum, and chromium in photographic processes are generally voluntary ones and that the light really acts only as an accelerator, that is to say the chemical properties of the preparations also change in tne dark, though a longer time is re- quired, when these preparations are ex- posed to the light under a negative, the modification of their chemical proper- ties is accelerated in such a way that, through the gradations of the tone- values in the negative, the positive print is formed. Now it has been found that we also have such accelerators in ma- terial substances that can be used in the light, the process being termed catalysis. It is remarkable that these substances, called catalyzers, apparently do not take part in the process, but bring about merely by their presence, decomposition or combination of other bodies during or upon contact. Hence, catalysis may be defined, in short, as the act of changing or accelerating the speed of a chemical reaction by means of agents which ap- pear to remain stable. Professor Ostwald and Dr. O. Gros, of the Leipsic University, have given the name of ' catatypy" to the new copying process. The use of light is entirely done away with, except that for the sake of convenience the manipulations are executed in the light. All that is neces- sary is to bring paper and negative into contact, no matter whether in the light or in the dark. Hence the negative (if necessary a positive may also be em- ployed) need not even be transparent, for the ascending and descending action of the tone values in the positive picture is pjoduced only by the quantity in the varying density of the silver powder contained in the negative. Hence no photographic (light) picture, but a ca- tatypic picture (produced by contact) is created, out the final result is the same. Catatypy is carried out as follows: Pour dioxide of hydrogen over the nega- tive, which can be done without any damage to the latter, and lay a piece of paper on (sized or unsized, rough or smooth, according to the effect desired); by a contact lasting a tew seconds the Eaper receives the picture, dioxide of ydrogen being destroyed. From a single application several prints can be made. The acquired picture — still in- CATATYPY— CELLULOID 156 visible — may now in the further course of the process, have a reducing or oxy- dizing action. As picture-producing bodies, the large group of iron salts are above all eminently adapted, but other substances, such as chromium, manga- nese, etc., as well as pigments with glue solutions may also be employed. The development takes place as follows: When the paper which has been in con- tact with the negative is drawn through a solution of ferrous oxide, the protoxide is transformed into oxide by the per- oxide, hence a yellow positive picture, consisting of iron oxide, results, which can be readily changed into other com- pounds, so that the most varying tones of color can be obtained. With tne use of pigments, in conjunction with a glue solution, the action is as follows: In the places where the picture is, the layer with the pigments becomes insoluble and all other dye stuifs can be washed off with water. The chemical inks and reductions, as well as color pigments, of which the pic- tures consist, have been carefully tested and are composed of such as are known to possess unlimited durability. After a short contact, simply immerse the picture in the respective solution, wash out, and a permanent picture is obtained. CATERPILLAR DESTROYERS : See Insecticides. CATGUT : Preparation of Catgut Sutures. — The catgut is stretched tightly over a glass plate tanned in 5 per cent watery extract of quebracho, washed for a short time in water, subjected to the action of a 4 per cent formalin solution for 24 to 48 hours, washed in running water for 24 hours, boiled in water for 10 to 15 minutes, and stored in a mixture of absolute al- cohol with 5 per cent glycerine and 4 per cent carbolic acid. In experiments on dogs, this suture material in aseptic wounds remained intact for 65 days, and was absorbed after 83 days. In infected wounds it was absorbed after 32 days. CATSUP (ADULTERATED): See Foods. CATTLE DIPS AND APPLICATIONS : See Disinfectants and Insecticides. CEILING CLEANERS: See Cleaning Preparations and Meth- ods, and also Household Formulas. CELERY COMPOUND. Celery (seed ground) . 25 parts Coca leaves (ground). 25 parts Black haw (ground).. 25 parts Hyoscyamus leaves (around) 12i parts Podophyllum (pow- dered) 10 parts Orange peel (ground) 6 parts Sugar (granulated).. . 100 parts Alcohol 150 parts Water, q. s. ad 400 parts Mix the alcohol with 160 parts of water and macerate drugs for 24 hours; pack in percolator and pour on men- struum till 340 parts is obtained ; dis- solve sugar in it and strain. CELLS, SOLUTIONS AND FILLERS FOR BATTERY: See Battery Solutions and Fillers. CELLARS, WATERPROOF : See Household Formulas. CELLOIDIN PAPER: See Paper. CeUuloid New Celluloid. — M. Ortmann has as- certained that turpentine produced by the Pinus larix, generally denominated Venice turpentine, in combination with acetone (dimethyl ketone), yields the best results; but other turpentines, such as the American from the Pinus australis, the Canada turpentine from the Pinus balsamea, the Frtench turpentine from the Pinus mariiima, and ketones, such as the ketone of methyl-ethyl, the ketone of dinaphthyl, the ketone of methyl- oxynaphthyl, and the ketone of dioxy- naphthyl, may be employed. To put this process in practice, 1,000 parts of pyroxyline is prepared in the usual manner, and mixed with 65 parts of turpentine, or 250 parts of ketone and 250 parts of ether; 500 parts or 750 parts of methyl alcohol is added, and a col- orant, such as desired. Instead of tur- pentine, rosins derived from it may be employed. If the employment of cam- phor is desired to a certain extent, it may be added to the mixture. The whole is shaken and left at rest for about 12 hours. It is then passed between hot rollers, and finally pressed, cut, and dried, like or- dinary celluloid. 156 CELLULOID The product thus obtained is without odor, when camphor is not employed; and in appearance and properties it can- not be distinguished from ordinary cel- luloid, while the expense of production is considerably reduced. Formol Albumen for Preparation of Celluloid. — Formol has the property of forming combinations with most albu- minoid substances. These are not iden- tical with reference to plasticity, and the use which may be derived from them for the manufacture of plastic substances. This difference explains why albumen should not be confounded with gelatin or casein. With this in view, the Societe Anonyme I'Oyonnaxienne has originated the following processes: I. — The albumen may be that of the egg or that of the blood, which are readily found in trade. The formolizing may be effected in the moist state or in the dry state. The dry or moist albumen is brought into contact with the solution of commercial formol diluted to 5 or 10 per cent for an hour. Care must be taken to pulverize the albumen, if it is dry. The formol penetrates rapidly into the albuminoid matter, and is fil- tered or decanted and washed with water until all the formol in excess has completely disappeared; this it is easy to ascertain by means of aniline water, which produces a turbid white as long as a trace of formic aldehyde remains. The formol albumen is afterwards dried at low temperature by submitting it to the action of a current of dry air at a temperature not exceeding 107° F. Thus obtained, the product appears as a, transparent corneous substance. On pulverizing, it becomes opaque and loses its transparency. It is completely in- soluble m water, but swells in this liquid. II. — The formol albumen is reduced to a perfectly homogeneous powder, and mixed intimately with the plastic matter before rolling. This cannot be con- sidered an adequate means for effecting the mixture. It is necessary to introduce the formol albumen, in the course of the moistening, either by making an emul- sion with camphor alcohol, or by mixing it thoroughly with nitro-cellulose, or by making simultaneously a thorough mix- ture of the three substances. When the mixture is accomplished, the paste is rolled according to the usual operation. The (quantity of formol albumen to add is variable, being diminished according to the quantity of camphor. Instead of adding the desiccated for- mol albumen, it may previously be swollen in water in order to render it more malleable. Instead of simple water, alkalinized or acidified water may be taken for this pur- pose, or even alcoholized water. The albumen, then, should be pressed be- tween paper or cloth, in order to remove the excess of moisture. Plastic Substances of Nitro -Cellulose Base. — To manufacture plastic substances the Compagnie Franpaise du Celluloid commences by submitting casein to a special operation. It is soaked with a solution of acetate of urea in alcohol; for 100 parts of casein 5 parts of acetate of urea and 50 parts of alcohol are em- Eloyed. The mass swells, and in 48 ours the casein is thoroughly penetrat- ed. It is then ready to be incorporated with the camphored nitro-cellulose. The nitro-cellulose, having received the addi- tion of camphor, is soaked in the alcohol, and the mass is well mixed. The casein prepared as described is introduced into the mass. The whole is mixed and left at rest for 2 days. The plastic pulp thus obtained is rolled, cut, and dried like ordinary cel- lulose, and by the same processes and apparatus. The pulp may also be con- verted into tubes and other forms, like ordinary celluloid. It is advisable to subject the improved plastic pulp to a treatment with formal- dehyde for the purpose of rendering in- soluble the casein incorporated in the celluloid. The plastic product of nitro- cellulose base, thus obtained, presents in employment the same general proper- ties as ordinary celluloid. It may be applied to the various manufacturing processes in use for the preparation of articles of all kinds, and its cost price diminishes more or less according to the proportion of casein associated with the ordinary celluloid. In this plastic prod- uct various colorants may be incor- porated, and the appearance of shell, pearl, wood, marble, or ivory may also be imparted. Improved Celluloid. — This product is obtained by mingling with celluloid, un- der suitable conditions, gelatin or strong glue of gelatin base. Iti s clear that the replacement of part of the celluloid by the gelatin, of which the cost is much less, lowers materially the cost of the final product. The result is obtained without detriment to the qualities of the objects. These are said to be of superior properties, having more firmness than those of celluloid. And the new material CELLULOID 157 is worked more readily than the celluloid employed alone. The new product may be prepared in open air or in a closed vessel under pres- sure. When operated in the air, the gel- atin is first immersed cold (in any form, and in a state more or less piire) in alco- hol marking about 140° F., with the addition of a certain quantity (for exam- ple, 5 to 10 per cent) of crystallizable acetic acid. In a few hours the material has swollen considerably, and it is then introduced in alcohol of about 90 per cent, and at the same time the celluloid pulp (camphor and gun cotton), taking care to add a little acetone. The proportion of celluloid in the mixture may be SO to 75 per cent of the weight of the gelatin, more or less, according to the result desired. After heating the mixture slightly, it is worked, cold, by the rollers ordinarily employed for celluloid arfd other similar pastes, or by any other suit- able methods. The preparation in a closed vessel does not differ from that which has been de- scribed, except for ,the introduction of the mixture of gelatin, celluloid, alco- hol, and acetone, at the moment when the heating is to be accomplished in an autoclave heated with steam, capable of supporting a pressure of 2 to 5 pounds, and furnishecf with a mechanical agita- tor. This method of proceeding abridges the operation considerably ; the paste comes from the autoclave well min- gled, and is then submitted to the action of rollers. There is but little work in distilling the alcohol and acetic acid in the autoclave. These may be recovered, and on account of their evap- oration the mass presents the desired consistency when it reaches the rollers. Whichever of the two methods of prep- aration may be employed, the sub- stance may be rolled as in the ordinary process, if a boiler with agitator is made use of; the mass may be produced in any form. Preparation of Uninflammable Cellu- loid. — The operation of this process by Woodward is the following: In a receiver of glass or porcelain, liquefied fish glue and gum arable are introduced and allowed to swell for 24 hours in a very dry position, allowing the air to circulate freely. The receiver is not covered. Afterwards it is heated on a water bath, and the contents stirred (for example, by means of a porcelain spatula) until the gum is completely liquefied. The heating of the mass should not exceed 77° F. Then the gelatin is added in such a way that there are no solid pieces. The receiver is removed from the water bath and colza oil added, while agitating anew. When the mixture is complete it is left to repose for 24 hours. Before cooling, the mixture is passed through a sieve in order to retain the pieces which may not have been dis- solved. After swelling, and the dissolu- tion and purification by means of the sieve, it is allowed to rest still in the same position, with access of air. The films formed while cooling may be re- moved. The treatment of celluloid necessitates employing a solution com- pletely colorless and clear. The cellu- loid to be treated while it is still in the pasty state should be in a receiver of glass, porcelain, or similar material. The mass containing the fish glue is poured in, drop by drop, while stirring carefully, taking care to pour it in the middle of the celluloid and to increase the surface of contact. When the mixture is complete, the cel- luloid is ready to be employed and does not prodifce flame when exposed. The solution of fish glue may be pre- pared by allowing 200 parts of it to swell for 48 hours in 1,000 parts of cold dis- tilled water. It is then passed through the sieve, and the pieces which may re- main are broken up, in order to mingle them thoroughly with the water. Ten parts of kitchen salt are then added, and the whole mass passed through the sieve. This product may be utilized for the preparation of photographic films or for those used for cinematographs, or for replacing hard caoutchouc for the insu- lation of electric conductors, and for the preparation of plastic objects. Substitute for Camphor in the Prepa- ration of Celluloid and Applicable to Other Purposes. — In this process commercial oil of turpentine, after being rectified by distillation over caustic soda, is subjected to the action of gaseous chlorhydric acid, in order to produce the solid mono- chlorhydrate of turpentine. After hav- ing, by means of the press, extracted the liquid monochlorhydrate, and after several washings with cold water, the solid matter is desiccated and introduced into an autoclave apparatus capable of resisting a pressure of 6 atmospheres. Fifty per cent of caustic soda, calculated on the weight of the monochlorhydrate, and mingled with an equal quantity of alcohol, IS added in the form of a thick solution. The apparatus is closed and heated for several hours at the temper- 158 CELLULOID ature of 284° to 302° P. The material is washed several times for freeing it from the mingled sodium chloride and sodium hydrate, and the camphor re- sulting from this operation is treated in the following manner: In an autoclave constructed for the purpose, camphene and water strongly mixed with sulphuric acid are introduced and heated so as to attain 9 pounds of pressure. Then an electric current is applied, capable of producing the de- composition of water. The mass is constantly stirred, either mechanically or more simply by allowing a little of the steam to escape by a tap. In an hour, at least, the material is drawn from the apparatus, washed and dried, sublimed according to need, and is then suitable for replacing camphor in its industrial employments, for the camphene is con- verted entirely or in greater part into camphor, either right-hand camphor, or a product optically inactive, according to the origin of the oil of turpentine made use of. In the electrolytic oxidation of the camphene, instead of using acidulated water, whatever is capable of furnishing, under the influence of the electric cur- rent, the oxygen necessary for the reac- tion, such as oxygenized water, barium bioxide, and the permanganates, may be employed. Plastic and Elastic Composition. — Formaldehyde has the property, as known, of removing from gelatin its solu- bility and its fusibility, but it has also another property, prejudicial in certain applications, of rendering the composi- tion hard and friable. In order to remedy this prejudicial action M. De- borda adds to the gelatin treated by means of formaldehyde, oil of turpen- tine, or a mixture of oil of turpentine and German turpentine or Venice turpentine. The addition removes from the composi- tion its friability and hardness, imparting to it great softness and elasticity. The effect is accomplished by a slight pro- portion, 5 to 10 per cent. Production of Substances Resembling Celluloid. — Most of the substitutes for camphor in the preparation of celluloid are attended with inconveniences limiting their employment and sometimes caus- ing their rejection. Thus, in one case the celluloid does not allow of the prepa- ration of transparent bodies; in another it occasions too much softness in the products manufactured; and in still an- other it does not allow of pressing, fold- ing, or other operations, because the mass is too brittle; in still others combinations are produced which in time are affected unfavorably by the coloring substances employed. Callenberg has found that the haloge- nous derivatives of etherized oils, prin- cipally oil of turpentine, and especially the solid chloride of turpentine, which is of a snowy and brilliant white, and of agreeable odor, are suitable for yielding, either alone or mixed with camphor or one of its substitutes, and combined by ordinary means with nitrated cellulose, or other ethers of cellulose, treated with acetic ether, a celluloidic product, which, it is said, is not inferior to ordinary cellu- loid and has the advantage of reduced cost. Elastic Substitute for Celluloid. — Acetic cellulose, like nitro-cellulose, can Be converted into an elastic corneous compound. The substances particu- larly suitable for the operation are or- fanic substances containing one or more ydroxy, aldehydic, amide, or ketonic groups, as well as the acid amides. Prob- ably a bond is formed when these com- binations act on the acetate of cellulose, but the bond cannot well be defined, considering the complex nature of the molecule of cellulose. According to the mode of preparation, the substances obtained form a hard mass, more or less flexible. In the soft state, copies of en- graved designs can be reproduced in their finest details. When hardened, they can be cut and polished. In cer- tain respects they resemble celluloid, without its inflammability, and they can be employed in the same manner. They can be produced by the following meth- ods — the Lederer process: I. — Melt together 1 part of acetate of cellulose and IJ parts of phenol at about the temperature of 104° to 122° F. When a clear solution is obtained place the mass of reaction on plates of glass or metal slightly heated and allow it to cool gradually. After a rest of several days the mass, which at the outset is similar to caoutchouc, is hard and forms flexible plates, which can be worked like cellu- loid. II. — Compress an intimate mixture of equal parts of acetic cellulose and hy- drate of chloride or of aniline, at a tem- perature of 122° to 140° F., and proceed as in the previous case. In the same way a ketone may be em- plojfed, as acetophenone, or an acid amide, as acetamide. Ill- —A transparent, celluloid-like sub- stance which is useful for the produc- CELLULOID 159 tion of plates, tubes, and other articles, but especially as an underlay for sensitive films in photography, is produced by dissolving 1.8 parts, by weight, of nitro- cellulose in 16 parts of glacial acetic acid, vpith heating and stirring and addition of 5 parts of gelatin. After this has swelled up, add 7.5 parts, by weight, of alcohol (96 per cent), stirring constantly. The syrupy product may be pressed into molds or poured, after further dilution with the said solvents in the stated pro- portion, upon glass plates to form thin layers. The dried articles are well washed with water, which may contain a trace of soda lye, and dried again. Pho- tographic foundations produced in this manner do not change, nor attack the layers sensitive to light, nor do they be- come electric, and in developing they remain flat. IV. — Viscose is the name of a, new product of the class of substances like celluloid, pegamoid, etc., substances hav- ing most varied and valuable appli- cations. It is obtained directly from cellulose by mascerating this substance in a 1 per cent dilution of hydrochloric acid. The maceration is allowed to con- tinue for several hours, and at its close the liquid is decanted and the residue is pressed off and washed thoroughly. The mass (of which we will suppose there is 100 grams) is then treated with a 20 per cent aqueous solution of sodium hydrate, which dissolves it. The solu- tion is allowed to stand for 3 days in a tightly closed vessel; 100 grams carbon disulphide are then added, the vessel closed and allowed to stand for 12 hours longer, when it is ready for purification. Viscose thus formed is soluble in water, cold or tepid, and yields a solution of a pale brownish color, from which it is precipitated by alcohol and sodium chloride, which purifies it, but at the expense of much of its solubility. A so- 1 ution of the precipitated article is color- less, or of a slightly pale yellow. Under the action of heat, long continued, vis- cose is decomposed, yielding cellulose, caustic soda, and carbon disulphide. See also Casein for Celluloid Substi- tutes. Celluloid of Reduced Inflammability. — I.— A practicable method consists in incorporating silica, which does not harm the essential properties of the cel- luloid. The material is divided by the usual methods, and dissolved by means of the usual solvents, to which silica has been added, either in the state of amylic, ethylic, or methylic silicate, or in the state of any ether derivative of silicic acid. The suitable proportions vary according to the degree of inflammability desired, and according to the proportion of silica in the ether derivative employed; but sufficient freedom from inflammability for practical purposes is attained by the following proportions: Fifty-five to 65 parts in volume of the solvent of the celluloid, and 33 to 45 parts of the de- rivative of silicic acid. When the ether derivative is in the solid form, such, for instance, as ethyl disilicate, it is brought to the liquid state by means of any of the solvents. The union of the solvent and of the derivative is accomplished by mixing the two liquids and shaking out the air as much as possible. The incorporation of this mixture with the celluloid, pre- viouslj; divided or reduced to the state of chips, is effected by pouring the mixture on the chips, or inversely, shaking or stir- ring as free from the air as possible. The usual methods are employed for the des- iccation of the mass. A good result is obtained by drying very slowly, pref- erably at a temperature not above 10° C. (50° F.). The resulting residue is a new product scarcely distinguished from ordinary celluloid, except that the in- herent inflammability is considerably reduced. It is not important to employ any individual silicate or derivative. A mixture of the silicates or derivatives mentioned will accomplish the same results. II. — Any ignited body is extinguished in a gaseous medium which is unsuitable for combustion; the attempt has there- fore been made to find products capable of producing an uninflammable gas; and products have been selected that yield chlorine, and others producing bromine; it is also necessary that these bodies should be soluble in a solvent of cellu- loid; therefore, among chlorated prod- ucts, ferric chloride has been taken; this is soluble in the ether-alcohol mixture. This is the process: An ether-alcohol solution of celluloid is made; then an ether-alcohol solution of ferric perchlor- ide. The two solutions are mingled, and a clear, syrupy liquid of yellow color, jrielding no precipitate, is obtained. The liquid is poured into a cup or any suit- able vessel; it is left for spontaneous evaporation, and a substance of shell- color is produced, which, after washing and drying, effects the desired result. The celluloid thus treated loses none of its properties in pliability and trans- Earency, and is not only uninflammable, ut also incombustible. 160 CELLULOID Of bromated compounds, calcium bromide has been selected, which pro- duces nearly the same result; the product obtained fuses in the flame; outside, it is extinguished, without the power of igni- tion. It may be objected that ferric perchlor- ide and calcium bromide, being soluble in water, may present to the celluloid a surface capable of being affected by moist air; but the mass of celluloid, not being liable to penetration by water, fixes the chlorinated or brominated product. Still, as the celluloid undergoes a slight decomposition, on exposure to the light, allowing small quantities of camphor to evaporate, the surface of the perchlorin- ated celluloid may be fixed by immer- sion in albuminous water, after previous treatment with a, solution of oxalic acid, it a light yellow product is desired. For preventing the calcium bromide from eventually oozing on the surface of the celluloid, by reason of its dteliques- cence, it may be fixed by immersing the celluloid in water acidulated with sul- phuric acid. For industrial products, such as toilet articles, celluloid with fer- ric perchloride may be employed. Another method of preparing an un- inflammable celluloid, based on the prin- ciple above mentioned, consists in mix- ing bromide of camphor with cotton powder, adding castor oil to soften the product, in order that it may be less brittle. The latter product is not in- combustible, but it is uninflammable, and its facility of preparation reduces at least one-half the apparatus ordinarily made use of in the manufacture of cellu- loid. The manufacture of this product is not at all dangerous, for the camphor bromide is strictly uninflammable, and may be melted without any danger of dissolving the gun cotton. III. — Dissolve 25 parts of ordinary celluloidin in 250 parts of acetone and add a solution of 50 parts of magnesium chloride in 150 parts of alcohol, until a paste results, which occurs with a pro- portion of about 100 parts of the former solution to 20 parts of the latter solution. This paste is carefully mixed and worked through, then dried, and gives an abso- lutely incombustible material. IV. — Glass-like plates which are im- pervious to acids, salts, and alkalies, flexible, odorless, and infrangible, and still possess a transparency similar to ordinary glass, are said to be obtained by dissolving 4 to 8 per cent of collodion wool (soluble pyroxylin) in 1 per cent of ether or alcohol and mixing the solution with 2 to 4 per cent of castor oil, or a similar non-resinifying oil, and with 4 to 6 per cent of Canada balsam. The in- flammability of these plates is claimed to be much less than with others of collo- dion, and may be almost entirely obviat- ed by admixture of magnesium chloride. An addition of zinc white produces the appearance of ivory. Solvents for Celluloid. — Celluloid dis- solves in acetone, sulphuric ether, alco- hol, oil of turpentine, benzine, amyl acetate, etc., alone, or in various com- binations of these agents. The follow- ing are some proportions for solutions of celluloid: I. — Celluloid 5 parts Amyl acetate 10 parts Acetone 16 parts Sulphuric ether .... 16 parts II.— Celluloid 10 parts Sulphuric ether .... 30 parts Acetone 30 parts Amyl acetate 30 parts Camphor 3 parts III. — Celluloid 5 parts Alcohol 50 parts Camphor 5 parts IV.— Celluloid 5 parts Amyl acetate 50 parts V. — Celluloid 5 parts Amyl acetate 25 parts Acetone 25 parts Softening and Cementing Celluloid. — If celluloid is to be warmed only suffi- ciently to be able to bend it, » bath in boiling water will answer. In steam at 120° C. (248° F.), however, it becomes so soft that it may be easily kneaded like dough, so that one may even imbed in it metal, wood, or any similar material. If it be intended to soften it to solubility, the celluloid must then be scraped fine and macerated in 90 per cent alcohol, whereupon it takes on the character of cement and may be used to join broken pieces of celluloid together. Solutions of celluloid may be prepared: 1. With 5 parts, by weight, of celluloid in 16 pacts, by weight, each of amyl acetate, acetone, and sulphuric ether. 2. With 10 parts, by weight, of celluloid in 30 parts, by weight, each of sulphuric ether, acetone, amyl acetate, and 4 parts, by weight, camphor. 3. With 5 parts, by weight, celluloid in 50 parts, by weight, alcohol and 5 parts, by weight, camphor. 4. With 5 parts, by weight, celluloid in 50 parts, by weight, amyl acetate. 5. With 5 parts, by weight, celluloid in 25 parts, by weight, amyl acetate and 25 parts, by weight, acetone. CEMENTS 161 It is often desirable to soften celluloid so that it will not break when hammered. Dipping it in water warmed to 40° C. (104° F.) will suffice for this. Mending Celluloid. — Celluloid dishes which show cracks are easily repaired by brushing the surface repeatedly with alcohol, 3 parts, and ether, 4 parts, until the mass turns soft and can be readily squeezed together. The pressure must be maintained for about one day. By putting only 1 part of ether in 3 parts of alcohol and adding a little shellac, a ce- ment for celluloid is obtained, which, applied warm, produces quicker results. Another very useful gluing agent for cel- luloid receptacles is concentrated acetic acid. The celluloid fragments dabbed with it stick together almost instantane- ously. See also Adhesives for Methods of Mending Celluloid. Printing on Celluloid. — Printing on celluloid may be done in the usual way. Make ready the form so as to be perfectly level on the impression — that is, uniform to impressional touch on the face. The tympan should be hard. Bring up the form squarely, allowing for about a 3- or 4-sheet cardboard to be withdrawn from the tympan when about to proceed with printing on the celluloid; this is to allow for the thickness of the sheet of celluloid. Use live but dry and well-seasoned roll- ers. Special inks of different colors are made for this kind of presswork; in black a good card-job quality will be found about right, if a few drops of copal varnish are mixed with the ink before beginning to print. Colored Celluloid. — Black: First dip into pure water, then into a solution of nitrate of silver; let dry in the light. Yellow: First immerse in a solution of nitrate of lead, then in a concentrated solution of chromate of potash. Brown: Dip into a solution of per- manganate of potash made strongly alkaline by the addition of soda. Blue: Dip into a solution of indigo neutralized by the addition of soda. Red: First dip into a diluted bath of nitric acid; then into an ammoniacal solution of carmine. Green: Dip into a solution of verdi- gris. Aniline colors may also be employed but they are less permanent. Bleaching Celluloid.— If the celluloid has become discolored throughout, its whiteness can hardly be restored, but if merely superficially discolored, wipe with a woolen rag wet with absolute alcohol and ether mixed in equal proportions. This dissolves and removes a minute superficial layer and lays bare a new surface. To restore the polish rub briskly first with a woolen cloth and fin- ish with silk or fine chamois. A little jeweler's rouge or putzpomade greatly facilitates matters. Ink marks may be removed in the same manner. Printer's ink may be removed from celluloid by rubbing first with oil of turpentine and afterwards with alcohol and ether. Process of Impregnating Fabrics with Celluloid. — The fabric is first saturated with a dilute celluloid solution of the consistency of olive oil, which solution penetrates deeply into the tissue; dry quickly in a heating chamber and satu- rate with a more concentrated celluloid solution, about as viscous as molasses. If oil be added to the celluloid solution, the quantity should be small in the first solution, e. g., 1 to 2 per cent, in the following ones 5 to 8 per cent, while the outer layer contains very little or no oil. A fabric impregnated in this manner possesses a very flexible surface, because the outer layer may be very thin, while the interior consists of many flexible fibers surrounded by celluloid. CELLULOID CEMENTS AND GLUES : See Adhesives. CELLULOID LACQUER: See Lacquer. CELLULOID PUTTY: See Cements. Cements (See also Putties.) For Adhesive Cements intended for repairing broken articles, see Adhe- sives. Putty for Celluloid. — To fasten cellu- loid to wood, tin, etc., use a compound of 2 parts shellac, 3 parts spirit of cam- phor, and 4 parts strong alcohol. Plumbers' Cement. — A plumbers' ce- ment consists of 1 part black rosin, melted, and 2 parts of brickdust, thor- oughly powdered and dried. Cement for Steam and Water Pipes. — A cement for pipe joints is made as fol- lows: Ten pounds fine yellow ocher; 4 162 CEMENTS pounds ground litharee; 4 pounds whit- ing, and i pound of hemp, cut up fine. Mix together thoroughly with linseed oil to about the consistency of putty. Gutter Cement. — Stir sand and fine lime into boiled paint skins while hot and thick. Use hot. Cement for Pipe Joints. — A good ce- ment for making tight joints in pumps, pipes, etc., is made of a mixture of 15 parts of slaked lime, 30 parts of graphite, and 40 parts of barium sulphate. The in- gredients are powdered, well mixed to- gether, and stirred up with 15 parts of boiled oil. A stiffer preparation can be made by increasing the proportions of graphite and barium sulphate to 30 and 40 patts respectively, and omitting the lime. Another cement for the same purpose consists of 15 parts of chalk and 50 of graphite, ground, washed, mixed, and reground to fine powder. To this mixture is added 20 parts of ground litharge, and the whole mixed to a stiff paste with about 15 parts of boiled oil. This last preparation possesses the ad- vantage of remaining plastic for a long time when stored in a cool place. Finally, a good and simple mixture for tightening screw connections is made from powdered shellac dissolved in 10 per cent ammonia. The mucinous mass is painted over the screw threads, after the latter have been thoroughly cleaned, and the fitting is screwed home. The ammonia soon volatilizes, leaving behind a mass which hardens quickly, makes a tight joint, and is impervious to hot and cold water. Protection for Cement Work. — A coating of soluble glass will impart to cement surfaces exposed to ammonia not only a protective covering, but also increased' solidness. Cemented surfaces can be protected from the action of the weather by re- peated coats of a green vitriol solution consisting of 1 part of green vitriol and 3 parts of water. Two coatings of 6 per cent soap water are said to render the cement waterproof; after drying and rubbing with a cloth or brush, this coat- ing will become glossy like oil paint. This application is especially recom- mendeci for sick rooms, since the walls can be readily cleaned by washing with soapy water. The coating is rendered more and more waterproof thereby. The green vitriol solution is likewise commendable for application on old and new plastering, since it produces thereon waterproof coatings. From old plas- tering the loose particles have first to be removed by washing. Puncture Cement. — A patented prepa- ration for automatically repairing punc- tures in bicycle tires consists of glycerine holding gelatinous silica or aluminum hydrate in suspension. Three volumes of glycerine are mixed with 1 volume of liquid water glass, and an acid is stirred in. The resulting jelly is diluted with 3 additional volumes of glycerine, and from 4 to 6 ounces of this fluid are placed in each tire. In case of puncture, the internal pressure of the air forces the fluid into the hole, which it closes. To Fix Iron in Stone. — Of the quickly hardening cements, lead and sulphur, the latter is popularly employed. It can be rendered still more suitable for pur- poses of pouring by thfe admixture of Portland cement, which is stirred into the molten sulphur in the ratio of 1 to 3 parts by weight. The strength of the latter is increased by this addition, since the formation of so coarse a crystalline structure as that of solidifying pure sul- phur is disturbed by the powder added. White Portland Cement. — Mix togeth- er feldspar, 40-100 parts, by weight; kaolin, 100 parts; limestone, 700 parts; magnesite, 20-40 parts; and sodium chloride, 2.5-5 parts, all as pure as possible, and heat to 1430° to 1500° C. (2606° to 2732° F.), until the whole has become sintered together, and forms a nice, white cement-like mass. Cement for Closing Cracks in Stoves. ■ — Make a putty of reduced iron (iron by hydrogen) and a solution of sodium or potassium silicate, and force it into the crack. If the crack be a very nar- row one, make the iron and silicate into paste instead of putty. This material grows firmer and narder the longer the mended article is used. Cement for Waterpipe. — I. — Mix to- gether 11 parts, by weight, Portland cement; 4 parts, by weight, lead white; 1 part, by weight, litharge; and make to a paste with boiled oil in which 3 per cent of its weight of colophony has been dissolved. II. — Mix 1 part, by weight, torn-up wadding; 1 part, by weight, of quicklime, and 3 parts, by weight, of boiled oil. This cement must be used as soon as made. Cement for Pallet Stones. — Place small pieces of shellac around the stone when in position and subject it to heat. Often the lac spreads unevenly or swells up; and this, in addition to being unsightly, is apt to displace the stone. This can be avoided as follows: The pallets are CEMENTS 163 held in long sliding tongs. Take a piece of shellac, heat it and roll it into a cylin- der between the lingers; again heat the extremity and draw it out into a fine thread. This thread will break off, leav- ing a point at the end of the lac. Now heat tne tongs at a little distance from the pallets, testing the degree of heat by toucning the tongs witn the shellac. When it melts easily, lightly touch the two sides of the notch with it; a very thin layer can thus be spread over them, and the pallet stone can then be placed in position and held until cold enough. The tongs will not lose the heat sud- denly, so that the stone can easily be raised or lowered as required. The pro- jecting particles of cement can be re- moved by a brass wire filed to an angle and forming a scraper. To cement a ruby pin, or the like, one may also use shellac dissolved in spirit, applied in the consistency of syrup, and liquefied again by means of a hot pincette, by seizing the stone with it. DENTAL CEMENTS: Fairthorne's Cement. — Powdered glass, 6 parts; powdered borax, 4 parts; silicic acid, 8 parts; zinc oxide, 200 parts. Powder very finely and mix; then tint with a small quantity of golden ocher or manganese. The compound, mixed be- fore use with concentrated syrupy zinc- chloride solution, soon becomes as hard as marble and constitutes a very durable tooth cement. Huebner's Cement. — Zinc oxide, 500.0 parts; powdered manganese, 1.5 parts; yellow ocher, powdered, 1.5-4.0 parts; powdered borax, 10.0 parts; powdered glass, 100.0 parts. As a binding liquid it is well to use acid-free zinc chloride, which can be prepared by dissolving pure zinc, free from iron, in concentrated, pure, hydro- chloric acid, in such a manner that zinc is always in excess. When rio more hy- drogen is evolved the zinc in excess is still left in the solution for some time. The latter is filtered and boiled down to the consistency of syrup. Commercial zinc oxide cannot be em- ployed without previous treatment, be- cause it is too loose; the denser it is the better is it adapted for dental cements, and the harder the latter will be. For this reason it is well, in order to obtain a dense product, to stir the commercial pure zinc oxide into a stiff paste with water to which 2 per cent of nitric acid has been added; the paste is dried and heated for some time at white heat in a Hessian crucible. 6 After cooling, the zinc oxide, thus ob- tained, is very finely powdered and kept in hermetically sealed vessels, so that it cannot absorb carbonic acid. The dental cement prepared with such zinc oxide turns very hard and solidifies with the concentrated zinc-chloride solution in a few minutes. Phosphate Cement. — Concentrate pure phosphoric acid till semi-solid, and mix aluminum phosphate with it by heat- ing. For use, mix with zinc oxide to the consistency of putty. The cement is said to set in 2 minutes. Zinc Amalgam, or Dentists' Zinc. — This consists of pure zinc filings com- bined with twice their weight of mercury, a gentle heat being employed to render the union more complete. It is best ap- plied as soon as made. Its color is gray, and it is said to be effective and durable. Sorel's Cement. — Mix zinc oxide with half its bulk of fine sand, add a solu- tion of zinc chloride of 1.260 specific gravity, and rub the whole thoroughly together in a mortar. The mixture must be applied at once, as it hardens very quickly. Metallic Cement. — Pure tin, with a small proportion of cadmium and suf- ficient mercury, forms the most lasting and, for all practical purposes, the least objectionable amalgam. Melt 2 parts of tin with 1 of cadmium, run it into in- gots, and reduce it to filings. Form those into a fluid amalgam with mercury, and squeeze out the excess of the latter through leather. Work up the solid residue in the hand, and press it into the tooth. Or melt some beeswax in a pip- kin, throw in 5 parts of cadmium, and when melted add 7 or 8 parts of tin in small pieces. Pour the melted metals into an iron or wooden box, and shake them until cold, so as to obtain the alloy in a powder. This is mixed with 2^ to 3 times its weight of mercury in the palm of the hand, and used as above described. CEMENT COLORS: See Stone. CEMENT, MORDANT FOR: See Mordants. CEMENT, PAINTS FOR: See Paint. CEMENT, PROTECTION OF, AGAINST ACID: See Acid-Proofing. 164 CERAMICS CHAIN OF FIRE: See Pyrotechnics. CHAINS (WATCH), TO CLEAN: See Cleaning Preparations and Meth- ods. CHALK FOR TAILORS. Knead together ordinary pipe clay, moistened with ultramarine blue for blue, finely ground ocher for yellow, etc., until they are uniformly mixed, roll out into thin sheets, cut and press into wood- en or metallic molds, well oiled to pre- vent sticking, and allow to dry slowly at ordinary temperature or at a very gentle heat. CHAPPED HANDS: See Cosmetics. CHARTA SINAPIS: See Mustard Paper. CHARTREUSE : See Wines and Liquors. Ceramics GROUND CERAMICS— LAYING OIL FOR: See Oil. Notes for Potters, Glass-, and Brick- makers. — It is of the highest importance in selecting oxides, minerals, etc., for manufacturing different articles, for potters' use, to secure pure goods, es- pecially in the purchase of the following: Lead, manganese, oxide of zinc, borax, whiting, oxide of iron, and oxide of cobalt. The different ingredients com- prising any given color or glaze should be thoroughljr mixed before being cal- cined, otherwise the mass will be of a streaky or variegated kind. Calcination requires care, especially in the manu- facture of enamel colors. Over-firing, particularly of colors or enamels com- f)osed in part of lead, borax, antimony, or itharge, causes a dullness of shade, or film, that reduces their value for decora- tive purposes, where clearness and bril- liancy are of the first importance. To arrest the unsightly defect of "crazing," the following have been the most successful methods employed, in the order given: I. — Flux made of 10 parts tincal; 4 parts oxide of zinc; 1 part soda. II. — A calcination of 5 parts oxide of zinc; 1 part pearl ash. III. — Addition of raw oxide of zinc, 6 pounds to each hundredweight of glaze. To glazed brick and tile makers, whose chief difficulty appears to be the produc- tion of a slip to suit the contraction of their clay, and adhere strongly to either a clay or a burnt brick or tile, the follow- ing method may be recommended: Mix together: Ball clay 10 parts Cornwall stone 10 parts China clay 7 parts Flint 6J parts To be mixed and lawned one week before use. To Cut Pottery.— Pottery or any soft or even hard stone substance can be cut without chipping by a disk of soft iron, the edge of wnich has been charged with emery, diamond, or other grinding pow- der, that can be obtained at any tool agency. The cutting has to be done with a liberal supply of water fed con- tinually to the revolving disk and the substance to be cut. BRICK Airo TILEMAKERS' GLAZED BRICKS : White. — When the brick or tile leaves the press, with a very soft brush cover the part to be glazed with No. 1 Slip; after- wards dip the face in the same mixture. No. I Slip.— Same clay as brick . . 9 parts Flint 1 part Ball clay 5 parts China 4 parts Allow the brick to remain slowly dry- ing for 8 to 10 hours, then when moist dip in the white body. White Body.— China clay 24 parts Ball clay 8 parts Feldspar 8 parts Flint 4 parts The brick should now be dried slowly but thoroughly, and when perfectly dry dip the face in clean cold water, and im- mediately afterwards in glaze. Hard Glaze. — Feldspar 18 parts Cornwall stone SJ parts Whiting 1 J parts Oxide of zinc 1 J parts Plaster of Paris J part CERAMICS 165 Soft Glaze.— White lead 13 parts Feldspar. 20 parts Oxide of zinc 3 parts Plaster of Paris 1 part Flint glass 13 parts Cornwall stone 3 J parts Paris white • . ij parts Where clay is used that will stand a very high fire, the white lead and glass may be left out. A wire brush should now be used to remove all superfluous glaze, etc., from the sides and ends of the brick, which is then ready for the kiln. In placing, set the bricks face to face, about an inch space being left between the two glazed faces. All the mixtures, after being mixed with water to the con- sistency of cream, must be passed 2 or 3 times through a very fine lawn. The kiln must not be opened till perfectly cold. Process for Colored Glazes.- — Use color, 1 part, to white body, 7 parts. Use color, 1 part, to glaze, 9 parts. Preparation of Colors. — The specified ingredients should all be obtained finely ground, and after being mixed in the proportions given should, in a saggar or some clay vessel, be fired in the brick kiln and afterwards ground for use. In firing the ingredients the highest heat attainable is necessary. Turquoise.— Oxide of zinc 8 parts Oxide of cobalt li parts Grass Green. — Oxide of chrome 6 parts Flint 1 part Oxide of copper J part Royal Blue.— Pure alumina 20 parts Oxide of zinc 8 parts Oxide of cobalt 4 parts Mazarine Blue. — Oxide of cobalt 10 parts Paris white 9 parts Sulphate barytes 1 part Red Brown. — Oxide of zinc 40 parts Crocus of martis 6 parts Oxide of chrome 6 parts Red lead 5 parts Boracic acid 5 parts Red oxide of iron .... 1 part Orange. — Pure alumina 5 parts Oxide of zinc 2 parts Bichromate of potash. 1 part Iron scale } part Claret Brown. — Bichromate of potash. 2 parts Flint 2 parts Oxide of zinc 1 part Iron scale 1 part Blue Green. — Oxide of chrome 6 parts Flint 2 parts Oxide of cobalt f part Sky Blue.— Flint 9 parts Oxide of zinc 13 parts Cobalt 2J parts Phosphate soda 1 part Chrome Green. — Oxide of chrome 3 parts Oxide of copper. . . , . . 1 part Carbonate of cobalt . . 1 part Oxide of cobalt .2 parts Olive.— Oxide of chrome 3 parts Oxide of zinc 2 parts Flint 5 parts Oxide of cobalt 1 part Blood Red.— Oxide of zinc 30 parts Crocus martis 7 parts Oxide of chrome 7 parts Litharge 5 parts Borax 5 parts Red oxide of iron 2 parts Black.— Chromate of iron 24 parts Oxide of nickel 2 parts Oxide of tin 2 parts Oxide of cobalt 5 parts Imperial Blue. — Oxide of fcobalt 10 parts Black color 1 J parts Paris white 74 parts Flint 2i parts Carbonate of soda ... 1 part Mahogany. — Chromate of iron 30 parts Oxide of manganese. . 20 parts Oxide of zinc 12 parts Oxide of tin 4 parts Crocus martis 2 parts Gordon Green. — Oxide of chrome 12 parts Paris white .. 8 parts Bichromate of potash. 4| parts Oxide of cobalt j part Violet.— Oxide of cobalt 2^ parts Oxide of manganese. . 4 parts Oxide of zinc 8 parts Cornwall stone 8 parts 166 CERAMICS Lavender. — Calcined oxide of zinc 5 parts Carbonate of cobalt . . f part Oxide of nickel j part Paris white 1 part Brown. — Manganese 4 parts Oxide of chrome 2 parts Oxide of zinc 4 parts Sulphate barytes 2 parts Dove. — Oxide of nickel 7 parts Oxide of cobalt 2 parts Oxide of chrome 1 part Oxide of flint 18 parts Paris white 3 parts Yellow Green. — Flint 6 parts Paris white 4 parts Bichromate of potash. 4 J parts Red lead 2 parts Fluorspar 2 parts Plaster of Paris 1 i parts Oxide of copper i part BODIES REQUIRING NO STAIN: Ivory. — Cane marl 16 parts Bali clay 12 parts Feldspar 8 parts China clay 6 parts Flint 4 parts Cream. — Ball clay 22 parts China clay 5 J parts Flint 5 parts Feldspar 3h parts Cane marl 12 parts Black.— Ball clay 120 parts Ground ocher 120 parts Ground manganese. 35 parts Buff.— Ball clay 12 parts China clay 10 parts Feldspar 8 parts Bull fire clay 16 parts Yellow ocher 3 parts Drab.— Cane marl 30 parts Ball clay 10 parts Stone 7 parts Feldspar 4 parts Brown. — Red marl 50 parts China clay 7 parts Ground manganese . . 6 parts Feldspar 3 parts In making mazarine blue glazed bricks use the white body and stain the glaze only. Mazarine blue 1 part Glaze 7 parts For royal blue use 1 part stain to 6 parts white body, and glaze unstained. Blood-Red Stain. — Numerous brick manufacturers possess beds of clay from which good and sound bricks or tiles can be made, the only drawback being that the clay does not burn a good color. In many cases this arises from the fact that the clay contains more or less sul- phur or other impurity, which spoils the external appearance of the finished article. The following stain will con- vert clay of any color into a rich, deep red, mixed in proportions of stain, 1 part, to clay, 60 parts. Stain.— Crocus martis 20 parts Yellow ocher 4 parts Sulphate of iron 10 parts Red oxide of iron 2 parts A still cheaper method is to put a slip or external coating upon the goods. The slip being quite opaque, effectively hides the natural color of the brick or tile upon which it may be used. The process is to mix: Blood-red stain 1 part Good red clay 6 parts Add water until the mixture becomes about the consistency of cream, then with a sponge force the liquid two or three times through a very fine brass wire lawn. No. 80, and dip the goods in the liquid as soon as they are pressed or molded. Blue Paviors. — Blue paving bricks may be produced with almost any kind of clay that will stand a fair amount of heat, by adopting the same methods as in the former case of blood-red bricks, that is, the clay may be stained through- out, or an outside coating may be ap- plied. Stain for Blue Paviors. — Ground ironstone. ... 20 parts Chromate of iron 5 parts Manganese. . .' 6 parts Oxide of nickel 1 part Use 1 part clay and 1 part stain for coating, and 50 or 60 parts clay and 1 part stain for staining through. Fire blue paviors very hard. Buff Terra-Co tta Slip.— Buff fire clay 16 parts China clay 6 parts CERAMICS 167- Yellow ocher 3 parts Ball clay 10 parts Flint 4 parts Add water to the materials after mix- ing well, pass through the fine lawn, and dip the goods when soft in the liquid. Transparent Glaze. — Ground flint glass 4 parts Ground white lead .... 4 parts Ground oxide of zinc. J part This glaze is suitable for bricks or tiles made of very good red clay, the natural color of the clay showing through the glaze. The goods must first be fired sufiiciently hard to make them durable, afterwards glazed, and fired again. The glaze being comparatively soft will fuse at about half the neat required for the first burning. The glaze may be stained, if desired, with any of the colors given in glazed-brick recipes, in the following proportions: Stain, 1 part; glaze, 1 part. SPECIAL RECIPES FOR POTTERY AND BRICK AND TILE WORKS : Vitrifiable Bodies. — The following mix- tures will flux only at a very high heat. They require no glaze when a proper heat is attained, and they are admirably adapted for stoneware glazes. I. — Cornwall stone ... . 20 parts Feldspar 12 parts China clay 3 parts Whiting 2 parts Plaster of Paris ... 1 J parts II. — Feldspar 30 parts Flint 9 parts Stone 8 parts China clay 3 parts III.— Feldspar 20 parts Stone 5 parts Oxide of zinc 3 parts Whiting 2 parts Plaster of Paris .. . 1 part Soda crystals, dis- solved 1 part Special Glazes for Bricks or Pottery at One Burning. — To run these glazes intense heat is required. I. — Cornwall stone 40 parts Flint 7 parts Paris white 4 parts Ball clay 15 parts Oxide of zinc 6 parts White lead 15 parts II.— Feldspar 20 parts Cornwall stone. .. . 5 parts Oxide of zinc 3 parts Flint 3 parts Lynn sand 1 J parts Sulphate barytes. . . li parts III. — Feldspar 25 parts Cornwall stone 6 parts Oxide of zinc 2 parts China clay 2 parts IV. — Cornwall itone 118 parts Feldspar 40 parts Paris white 28 parts Flint 4 parts V. — Feldspar 10 parts China clay 4 parts Stone 4 parts Oxide of zinc 2 parts Plaster of Paris .... 1 part VI. — Feldspar 10 parts Stone 5 parts Flint 2 parts Plaster i part The following glaze is excellent for bricks in the biscuit and pottery, which require an easy firing: White.— White lead 20 parts Stone 9 parts Flint 9 parts Borax 4 parts Oxide of zinc 2 parts Feldspar 3 parts These materials should be procured finely ground, and after being thoroughly mixed should be placed in a fire-clay crucible, and be fired for 5 or 6 hours, sharply, or until the material runs down into a liquid, then with a pair of iron tongs draw the crucible from the kiln and pour the liquid into a bucket of cold water, grind the flux to an extremely fine powder, and spread a coating upon the plate to be enameled, previously brushing a little gum thereon. The Elate must then be fired until a sufiicient eat is attained to run or fuse the pow- der. POTTERY BODIES AND GLAZES: Ordinary. — I. — China clay 2 i parts Stone 1 i parts Bone 3 parts II. — China clay 5 parts Stone 2 J parts Bone 7 parts Barytes 3 parts III. — Chain clay 5 parts Stone 3 parts Flint J part Barytes 8 parts Superior.^ I. — China clay 35 parts Cornwall stone 23 parts Bone 40 parts Flint 2 parts •168 CERAMICS II. — China clay 35 parts Cornwall stone 8 parts Bone 50 parts Flint 3 parts Blue clay 4 parts III. — China clay 8 parts Cornwall stone 40 parts Bone 29 parts - Flint 5 parts Blue clay 18 parts IV.— China clay 32 parts Cornwall stone 23 parts Bone 34 parts Flint 6 parts Blue clay 5 parts V. — China clay 7 parts Stone 40 parts Bone 28 parts Flint 5 parts Blue clay 20 parts Finest China Bodies. — I. — China clay 20 parts Bone 60 parts Feldspar 20 parts II. — China clay 30 parts Bone 40 parts Feldspar 30 parts III. — China clay 25 parts Stone 10 parts Bone 45 parts Feldspar 20 parts IV. — China clay 30 parts Stone 15 parts Bone 35 parts Feldspar 20 parts Earthenware Bodies. — I. — Ball clay 13 parts China clay 9 J parts Flint 5| parts Cornwall stone 4 parts II.— Ball clay 12J parts China clay 8 parts Flint 5 i parts Cornwall stone ... 24 parts One pint of cobalt stain to 1 ton of glaze. III.— Ball clay 13i parts China clay 11 parts Flint 4 parts Cornwall stone 5 parts Feldspar 4 parts Stain as required. IV.— Ball clay 18J parts China clay 13 J parts Flint 8i parts Stone 4 parts Blue stain, 2 pints to ton. V. — Ball clay. . . . : 15 parts China clay 12 parts Flint 6 parts Stone 4 parts Feldspar 4 parts Blue stain, 2 pints to ton. VI. (Parian).— Stone 11 parts Feldspar 10 parts China clay 8 parts COLORED BODIES: Ivory Body. — Ball clay 22 parts China 5 J parts Flint 6 parts Stone 3 J parts Dark Drab Body.— Cane marl 30 parts Ball clay 10 parts Cornwall stone 7 parts Feldspar 4 parts Black Body.— Ball clay 120 parts Ocher 120 parts Manganese 35 parts Cobalt carbonate. . 2 parts Grind the three last mentioned ingre- dients first. Caledonia Body. — Yellow clay 32 parts China clay 10 parts Flint 4 parts Brown Body. — Red clay 50 parts Common clay 7 J parts Manganese 1 part Flint 1 part Jasper Body. — Cawkclay 10 parts Blue clay 10 parts Bone 5 parts Flint 2 parts Cobalt 1 part Stone Body. — Stone 48 parts Blue clay 25 parts China clay 24 parts Cobalt 10 parts Egyptian Black. — Blue clay 235 parts Calcined ocher. . . . 225 parts Manganese 45 parts China clay 15 parts Ironstone Body. — Stone 200 parts Cornwall clay 150 parts CERAMICS 169 Blue clay 200 parts Flint 100 parts Calx 1 part Cream Body. — Blue clay 1 J parts Brown clay 1 j parts Black clay 1 part Cornish clay 1 part Common ball clay. . J part Buff color I part Light Drab. — Cane marl 30 parts Ball clay 24 parts Feldspar 7 parts Sage Body. — Cane marl 15 parts Ball clay 15 parts China clay 5 parts Stained with turquoise stain. COLORED GLAZES FOR POTTERY: Blue.— White glaze 100 parts Oxide of cobalt ... 3 parts Red lead 10 parts Flowing blue 3 parts Enamel blue 3 parts Grind. Pink.— White glaze 100 parts Red lead 8 parts Marone pink U. G. 8 parts Enamel red 3 parts Grind. Buff.— White glaze 100 parts Red lead 10 parts Buff color 8 parts Grind. Ivory. — White glaze 100 parts Red lead 8 parts Enamel amber. ... 8 parts Yellow underglaze 2 parts Grind. Turquoise. — White glaze 100 parts Red lead 10 parts Carbonate of soda. 5 parts Enamel blue 4 parts Malachite, 110 4 parts Grind. Yellow.— I- White glaze 100 parts Red lead 10 parts Oxide of uranium . 8 parts Grind. II. — Dried flint 5 parts Cornwall stone 15 parts Litharge 50 parts Yellow underglaze. . . 4 parts Grind. Green. — I. — Oxide of copper 8 parts Flint of glass 3 parts Flint 1 part Red lead . 6 parts Grind, then take: Of above 1 part White glaze 6 parts Or stronger as required. II. — Red lead 60 parts Stone 24 parts Flint 12 parts Flint glass 12 parts China clay S parts Calcined oxide of copper 14 parts Oxide of cobalt J part Grind only. Green Glaze, Best. — III.— Stone 80 parts Flint 8 parts Soda crystals 4 parts Borax 3 J parts Niter 2 parts Whiting 2 parts Oxide of cobalt J part Glost fire, then take: Above frit 60 parts Red lead 57 parts Calcined oxide of copper SJ parts Black.— Red lead 24 parts Raddle 4 parts Manganese 4 parts Flint 2 parts Oxide of cobalt 2 parts Carbonate of cobalt. 2 parts Glost fire. WHITE GLAZES: China. — Frit: I. — Stone 6 parts Niter 2 parts Borax 12 parts Flint 4 parts Pearl ash 2 parts To mill: Frit 24 parts Stone 15 J parts Flint ^ ej parts White lead 31 parts 170 CERAMICS II.— Frit: Stone 24 parts Borax 53 parts Lynn sand 40 parts Feldspar 32 parts Paris white 16 parts To mill: Frit 90 parts Stone 30 parts White lead , . 90 parts Flint 4 parts Glass 2 parts III.— Frit: Stone 50 parts Borax 40 parts Flint 30 parts Flint glass 30 parts Pearl barytes 10 parts To mill: Frit 160 parts Red lead 30 parts Enamel blue J part Flint glass 2 parts IV.— Frit: Borax 100 parts China clay 55 parts Whiting 60 parts Feldspar 75 parts To mill: Frit 200 parts China clay 16 parts White clay 3 J parts Stone 3 parts Flint 2 parts v.— Frit: Stone 40 parts Flint 25 parts Niter 10 parts Borax 20 parts White lead lO parts Flint glass 40 parts To mill: Frit 145 parts Stone 56 parts Borax 16 parts Flint 15 parts Red lead 60 parts Flint glass 8 parts Earthenware . — Frit : I.— Flint 108 parts China clay 45 parts Paris white 60 parts Borax 80 parts Soda crystals 30 parts To mill: Frit 270 pal-ts Flint 20 parts Paris white 15 parts Stone 80 parts White lead 65 parts II.— Frit: Flint 62 parts China clay 30 parts Paris white 38 parts Boracic acid 48 parts Soda crystals 26 parts To mill: Frit 230 parts Stone 160 parts Flint 60 parts Lead 120 parts III.— Frit: Stone 56 parts Paris white 55 parts Flint 60 parts China clay 20 parts Borax 120 parts Soda crystals 15 parts To mill: Frit 212 parts Stone 130 parts Flint SO parts Lead 110 parts Stain as required. IV.— Frit: Stone 100 parts Flint 44 parts Paris white 46 parts Borax 70 parts Niter 10 parts To mill: Frit 200 parts Stone 60 parts Lead 80 parts Pearl White Glaze.— Frit: Flint 50 parts Stone 100 parts Paris white 20 parts Borax 60 parts Soda crystals 20 parts To mill: Frit 178 pounds Lead 55 pounds Stain 3 ounces Opaque Glaze. — Frit: Borax 74 parts Stone 94 parts Flint 30 parts China clay 22 parts Pearl ash 5 J parts To mill: Frit 175 parts Lead 46 parts CERAMICS 171 Flint 10 parts Oxide of tin 12 parts Flint glass 12 parts Glaze for Granite. — Frit: I. — Stone 100 parts Flint 80 parts China clay 30 parts Paris white 30 parts Feldspar 40 parts Soda crystals 40 parts Borax 80 parts To mill: Frit 360 parts Flint 50 parts Stone 60 parts Lead 80 parts II.— Frit: Borax 100 parts Stone 50 parts Flint 50 parts Paris white 40 parts China clay 20 parts To mill: Frit 210 parts Stone 104 parts Flint 64 parts Lead 95 parts Raw Glazes. — White: I.— White lead 160 parts Borax 32 parts Stone 48 parts Flint 52 parts Stain with blue and grind. II.— White lead 80 parts Litharge 60 parts Boracic acid 40 parts Stone 45 parts Flint 50 parts Treat as foregoing. III.— White lead 100 parts Borax 4 parts Flint 11 parts Cornwall stone .... 50 parts IV.— Red lead 80 parts Litharge 60 parts Tincal 40 parts Stone 40 parts Flint 52 parts ROCKINGHAM GLAZES. I. — Litharge 50 parts Stone Ti parts Red marl 3 parts Oxide of manganese 5 parts Red oxide of iron ... 1 part II.— White lead 30 parts Stone 3 parts Flint 9 parts Red marl 3 parts Manganese 5 parts III. — Red lead 20 parts Stone 3 parts Flint 2 parts China clay 2 parts Manganese 3 parts Red oxide of iron. . . 1 part Stoneware Bodies. — Ball clay 14 parts China clay 10 parts Stone 8 parts Ball clay 8 parts China clay 5 parts Flint 3 parts Stone 4 parts Ball clay 14 parts China clay 11 parts Flint 4 parts Stone 6 parts Feldspar 4 parts Cane marl 16 parts China clay 10 parts Stone 9 parts Flint 5 parts Glazes. — Hard glaze: Stone 10 parts Flint 5 parts Whiting IJ parts Red lead 10 parts Hard glaze: Feldspar 25 parts Flint 5 parts Red lead 15 parts Plaster 1 part Softer: White lead 13 parts Flint glass 10 parts Feldspar 18 parts Stone 3 parts Whiting li parts Best: Feldspar 20 parts Flint glass 14 parts White lead 14 parts Stone 3 parts Oxide of zinc 3 parts Whiting 1 J parts Plaster 1 part Rockingham Bodies. — Ball clay 20 parts China clay 13 parts Flint 7 parts Stone 1 part Cane marl 22 parts China clay 15 parts Flint 8 parts Feldspar 1 part 172 CERAMICS Glazes. — I.— Red lead 60 parts Stone 8 parts Red clay 3 parts Best manganese ... 5 parts II.— White lead 60 parts Feldspar 6 parts Flint 16 parts Red clay 6 parts Manganese 12 parts III.— Red lead 100 parts Stone 15 parts Flint 10 parts China clay 10 parts Manganese 40 parts Crocus martis 2 parts IV. — Litharge 100 parts Feldspar 14 parts China clay 20 parts Manganese 40 parts Oxide of iron 2 parts Jet. — Procure some first-class red marl, add water, and, by passing through a fine lawn, make it into a slip, and dip the ware therein. When fired use the following: Glaze. — Stone 60 parts Flint 30 parts Paris white 7 J parts Red lead 140 parts One part mazarine blue stain to 10 parts glaze. Mazarine Blue Stain. — Oxide of cobalt 10 parts Paris white 9 parts Sulphate barytes 1 part Calcine. Another Process Body. — Ball clay 16 parts China clay 12 parts Flint clay 9 parts Stone clay 6 parts Black stain 7 parts Glaze. — Litharge 70 parts Paris white 3 parts Flint 12 parts Stone 30 parts Black stain 20 parts Black Stain.— Chromate of iron ... 12 parts Oxide of nickel 2 parts Oxide of tin 2 parts Carbonate of cobalt. S parts Oxide of manganese . 2 parts Calcine and grind. Blue Stains. — I. — Oxide of cobalt 2^ parts Oxide of zinc 7 J parts Stone 7J parts Fire this very hard. II. — Zinc 6 pounds Flint 4 pounds China clay 4 pounds Oxide of cobalt. ... . 5 ounces Hard fire. III.— Whiting SJ parts Flint 3f parts Oxide of cobalt 2i parts Glost fire. Turquoise Stain. — Prepared cobalt .... IJ parts Oxide of zinc 6 parts China clay 6 parts Carbonate of soda . . 1 part Hard fire. MATERIALS : Tin Ash. — Old lead 4 parts Grain tin 2 parts Melt in an iron ladle, and pour out in water, then spread on a dish, and calcine in glost oven with plenty of air. Oxide of Tin.— Granulated tin 6 pounds Niter J pound Put on saucers and fire in glost oven. Oxide of Chrome is made by mixing powdered bichromate of potash with sulphur as follows: Potash 6 parts Flowers of sulphur. . 1 part Put in saggar, inside kiln, so that fumes are carried away, and place 4 or 5 pieces of red-hot iron on the top so as to ignite it. Leave about 12 hours, then pound very fine, and put in saggar again. Calcine in hard place of biscuit oven. Wash this until the water is quite clear, and dry for use. Production of Luster Colors on Por- celain and Glazed Pottery. — The luster colors are readily decomposed by acids and atmospheric _ influences, because they do not contain, in consequence of the low_ baking temperature, enough silicic acid to form resistive compounds. In order to attain this, G. Alefeld has patented a, process according to which such compounds are added to the luster E reparations as leave behind after the urning an acid which transforms the luster preparation into more resisting CERAMICS 173 compounds. In this connection the ad- mixture of such bodies has been found advantageous, as they form phosphides ■with the metallic oxides of the lusters after the burning. These phosphides are especially fitted for the production of saturated resisting compounds, not only on account of their insolubility in water, but also on account of their colorings. Similarly titanic, molybdic, tungstic, and vanadic compounds may be produced. The metallic phosphates produced by the burning give a luster coating which, as regards gloss, is not inferior to the non- saturated metallic oxides, while it mate- rially excels them in power of resistance. Since the lusters to be applied are used dissolved in essential oils, it is necessary to make the admixture of phosphoric substance also in a form soluble in essen- tial oils. For the production of this admixture the respective chlorides, pre- eminently phosphoric chloride, are suit- able. They are mixed with oil of lav- ender in the ratio of 1 to 5, and the resulting reaction product is added to the commercial metallic oxide luster, singly or in conjunction with precious metal preparations (glossy gold, silver, plati- num, etc.) in the approximate propor- tion of 5 to 1. Then proceed as usual. Instead of the chlorides, nitrates and acetates, as well as any readily destruc- tible organic compounds, may also be employed, which are entered into fusing rosin or rosinous liquids. Metallic Luster on Pottery. — Accord- ing to a process patented in Germany, a mixture is prepared from various natural or artificial varieties of ocher, to which 25-50 per cent of finely powdered more or less metalliferous or sulphurous coal is added. The mass treated in this man- ner is brought together in saggars with finely divided organic substances, such as sawdust, shavings, wood-wool, cut straw, etc., and subjected to feeble red heat. After the heating the material is taken out. The glazings now exhibit that thin but stable metEillic color which is governed by the substances used. Besides coal, salts and oxides of silver, cobalt, cadmium, chrome iron, nickel, manganese, copper, or zinc may be em- ployed. The color-giving layer is re- moved by washing or brushing, while the desired color is burned in and re- mains. In this manner handsome shades can be produced. Metallic Glazes on Enamels.— The formulas used by the Arabs and their Italian successors are partly disclosed in manuscripts in the British and South Kensington Museums; two are given below: Arab Italian Copper sulphide 26 . 87 24 . 74 Silver sulphide 1.15 1.03 Mercury sulphide 24 . 74 Red ocher 71.98 49.49 These were ground with vinegar and applied with the brush to the already baked enamel. A great variety of iri- descent and metallic tones can be ob- tained by one or the other, or a mixture of the following formulas: 1 II III IV V VI Copper carbonate. . 30 .... 28 .. 95 Copper oxalate 5 . . Copper sulphide 20 Silver carbonate 3 . . 2 1 5 Bismuth subnitrate. .. 12 .. .. 10 .. Stannous oxide 25 Red ocher 70 85 55 70 84 .. Silver chloride and yellow ocher may be respectively substituted for silver car- bonate and red ocher. The ingredients, ground with a little gum tragacanth and water, are applied with a brush to enam- els melting about 1814° P., and are fur- naced at 1202° F. in a reducing atmos- phere. After cooling the ferruginous deposit is rubbed off, and the colors thus brought out. Sulphur, free or combined, is not nec- essary, cinnabar has no action, ocher may be dispensed with, and any organic gummy matter may be used instead of vinegar, and broom is not needed in the furnace. The intensity and tone of the iridescence depend on the duration of the reduction, and the nature of the enamel. Enamels containing a coloring base — copper, iron, antimony, nickel — especially in presence of tin, give the best results. To Toughen China. — To toughen china or glass place the new article in cold water, bring to boil gradually, boil for 4 hours, and leave standing in the water till cool. Glass or china toughened in this way will never crack with hot water. How to Tell Pottery and Porcelain. — The following simple test will serve: Hold the piece up to the light, and if it can be seen through — that is, if it is translucent — it is porcelain. Pottery is opaque, and not so hard and white as porcelain. The main differences in the manufacture of stoneware, earthenware, and porcelain are due to the ingredients used, to the way they are mixed, and to the degree of heat to which they are sub» 174 CHEESE jected in firing. Most of the old English wares found in this country are pottery or semichina, although the term china is commonly applied to them all. Cheese Manufacture. — The jirocess of cheese making is one which is eminently in- teresting and scientific, and which, in every gradation, depends on principles which chemistry has developed and il- lustrated. When a vegetable or min- eral acid is added to milk, and heat applied, a coagulum is formed, which, when separated from the liquid por- tion, constitutes cheese. Neutral salts, earthy and metallic salts, sugar, and gum arable, as well as some other sub- stances, also produce the same effect; but that whicli answers the purpose best, and which is almost exclusively used by dairy farmers, is rennet, or the mucous membrane of the last stom- ach of the calf. Alkalies dissolve this curd at a boiling heat, and acids again precipitate it. The solubility of casein in milk is occasioned by the presence of the phosphates and other salts of the alka- lies. In fresh milk these substances may be readily detected by the property it possesses of restoring the color of red- dened litmus paper. The addition of an acid neutralizes the alkali, and so pre- cipitates the curd in an insoluble state. The philosophy of cheese making is thus expounded by Liebig: " The acid indispensable to the co- agulation of milk is not added to the milk in the preparation of cheese, but it is formed m the milk at the expense of the milk-sugar present. A small quantity of water is left in contact with a small quantity of a calf's stomach for a few hours, or for a night; the water absorbs so minute a portion of the mucous mem- brane as to be scarcely ponderable; this is mixed with milk; its state of transfor- mation is communicated (and this is a most important circumstance) not to the cheese, but to the milk-sugar, the ele- ments of which transpose themselves into lactic acid, which neutralizes the alkalies, and thus causes the separation of the cheese. By means of litmus paper the process may be followed and observed through all its stages; the alkaline re- action of the milk ceases as soon as the coagulation begins. If the cheese is not immediately separated from the whey, the formation of lactic acid continues, the fluid turns acid, and the cheese itself passes into a state of decomposition. "When cheese-curd is kept in a cool place a series of transformation takes place, in consequence of which it as- sumes entirely new properties; it gradu- ally becomes semi-transparent, and more or less soft, throughout the whole mass; it exhibits a feebly acid reaction, and develops the characteristic caseous odor. Fresh cheese is very sparingly soluble in water, but after having been left to itself for two or three years it becomes (es- ^ pecially if all the fat be previously re- moved) almost completely soluble in cold water, forming with it a solution which, like milk, is coagulated by the addition of the acetic or any mineral acid. The cheese, which whilst fresh is insoluble, returns during the maturation, or ripening, as it is called, to a state sim- ilar to that in which it originally existed in the milk. In those English, Dutch, and Swiss cheeses which are nearly in- odorous, and in the superior kinds of French cheese, the casein of the milk is present in its unaltered state. " The odor and flavor of the cheese is due to the decomposition of the butter; the non-volatile acids, the margaric and oleic acids, and the volatile butyric acid, capric and caproic acids are liberated in consequence of the decomposition of glycerine. Butyric acid imparts to cheese its characteristic caseous odor, and the differences in its pungency or aromatic flavor depend upon the propor- tion of free butyric, capric, and caproic acids present. In the cheese of certain dairies and districts, valerianic acid has been detected along with the other acids i'ust referred to. Messrs Jljenjo and jaskowski found this acid in the cheege of Limbourg, and M. Bolard in that of Roquefort. " The transition of the insoluble into soluble casein depends upon the de- composition of the phosphate of lime by the margaric acid of the butter; mar- garate of lime is formed, whilst the phos- phoric acid combines with the casein, forming a compound soluble in water. "The bad smell of inferior kinds of cheese, especially those called meager or poor cheeses, is caused by certain fetid products containing sulphur, and which are formed by the decomposition or pu- trefaction of the casein. The alteration which the butter undergoes (that is, in becoming rancid), or which occurs in the milk-sugar still present, being trans- mitted to the casein, changes both the composition of the latter substance and its nutritive qualities. " The principal conditions for the prep- aration of the superior kinds of cheese CHEESE 175 (other obvious circumstances being of course duly regarded) are a careful removal of the whey, which holds the milk-sugar in solution, and a low tem- perature during the maturation or rip- ening of the cheese." cheese differs vastly in quality and flavor according to the method em- ployed in its manufacture and the rich- ness of the milk of which it is made. Much depends upon the quantity of cream it contains, and, consequently, when a superior quality of cheese is de- sired cream is frequently added to the curd. This plan is adopted in the man- ufacture of Stilton cheese and others of a like description. The addition of a pound or two of butter to the curd for a middling size cheese also vastly improves the quality of the product. To insure the richness of the milk, not only should the cows be properly fed, but certain breeds chosen. Those of Alderney, Cheddar, Cheshire, etc., have been widely preferred. The materials employed in making cheese are milk and rennet. Rennet is used either fresh or salted and dried; generally in the latter state. The milk may be of any kind, according to the quality of the cheese required. Cows' milk is that generally employed, but occa- sionally ewes' milk is used; and some- times, though more rarely, that from goats. In preparing his cheese the dairy farmer puts the greater portion of the milk into a large tub, to which he adds the remainder, sufficiently heated to raise the temperature to that of new milk. The whole is then whisked to- gether, the rennet or rennet liquor added, and the tub covered over. It is now al- lowed to stand until completely " turned," when the curd is gently struck down several times with the skimming dish, after which it is allowed to subside. The vat, covered with cheese cloth, is next placed on a "horse" or "ladder" over the tub, and filled with curd by means of the skimmer, care being taken to allow as little as possible of the oily particles or butter to run back with the whey. The curd is pressed down with the hands, and more added as it sinks. This process is repeated until the curd rises to about two inches above the edge. The newly formed cheese, thus partially separated from the whey, is now placed in a clean tub, and a proper quantity of salt, as well as of annotta, added when that coloring is used, after which a board is placed over and under it, and pressure applied for about 2 or 3 hours. The cheese is next turned out and surrounded by a fresh cheese cloth, and then again submitted to pressure in the cheese press for 8 or 10 hours, after which it is commonly removed from the press, salted all over, and again pressed for 15 to 20 hours. The quality of the cheese es- pecially depends on this part of the proc- ess, as if any of the whey is left in the cheese it rapidlj; becomes bad-flavored. Before placing it in the press the last time the common practice is to pare the edges smooth and sightly. It now only remains to wash the outside of the cheese in warm whey or water, to wipe it dry, and to color it with annotta or reddle, as is usually done. The storing of the newly made cheese is the next point that engages the atten- tion of the maker and wholesale dealer. The same principles which influence the maturation or ripening of fermented liquors also operate here. A cool cellar, neither damp nor dry, and which is un- influenced by change of weather or sea- son, is commonly regarded as the best for the purpose. If possible, the tem- perature should on no account be per- mitted to exceed 50° or 5'i° P. at any portion of the year. An average of about 45° F. is preferable when it can be procured. A place exposed to sudden changes of temperature is as unfit for storing cheese as it is for storing beer. " The quality of Roquefort cheese, which is prepared from sheep's milk, and is very excellent, depends exclusively upon the places where the cheeses are kept after pressing and during maturation. These are cellars, communicating with mountain grottoes and caverns which are kept constantly cool, at about 41° to 42° F., by currents of air from clefts in the mountains. The value of these cel- lars as storehouses varies with their property of maintaining an equable and low temperature." It will thus be seen that very slight differences in the materials, in the prep- aration, or in storing of the cheese, ma- terially influence the quality and flavor of this article. The richness of the milk; the addition to or subtraction of cream from the milk; the separation of the curd from the whey with or without com- pression; the salting of the curd; the collection of the curd, either whole or broken, before pressing; the addition of coloring matter, as annotta or saffron, or of flavoring; the place and method of stor- ing; and the length of time allowed for maturation, all tend to alter the taste and odor of the cheese in some or other par- ticular, and that in a way readily percep- 176 CHEESE tible to the palate of the connoisseur. No other alimentary substance appears to be so seriously affected by slight variations in the quality of the materials from which it is made, or by such ap- parently trifling differences in the meth- ods of preparing. The varieties of cheese met with in commerce are very numerous, and differ greatly from each other in richness, color, and flavor. These are commonly dis- tinguished by names indicative of the places in which they have been manufac- tured, or of the quality of the materials from which they have been prepared. Thus we have Dutch, Gloucester, Stil- ton, skimmed milk, raw milk, cream, and other cheeses ; names which explain them- selves. The following are the principal varieties : American Factory. — Same as Cheddar. Brickbat. — Named from its form; made, in Wiltshire, of new milk and cream. Brie. — A soft, white, cream cheese of French origin. kind of spongy 1 01 which con- Cheddar. — A fine, cheese, the eyes or vesicles tain a rich oil; made up into round, thick cheeses of considerable size (150 to 200 pounds). Cheshire. — From new milk, without skimming, the morning's milk being mixed with that of the preceding even- ing's, previously warmed, so that the whole may be brought to the heat of new milk. To this the rennet is added, in less quantity than is commonly used for other kinds of cheese. On this point much of the flavor and mildness of the cheese is said to depend. A piece of dried rennet, of the size of a half-dollar put into a pint of water over night, and allowed to stand until the next morn- ing, is sufficient for 18 or 20 gallons of milk; in large, round, thick cheeses (100 to 200 pounds each). They are gen- erally solid, homogeneous, and dry, and friable rather than viscid. Cottenham. — A rich kind of cheese, in flavor and consistence not unlike Stilton, from which, however, it differs in shape, being flatter and broader than the latter. Cream. — From the "strippings" (the last of the milk drawn from the cow at each milking), from a mixture of milk and cream, or from raw cream only, ac- cording to the quality desired. It is usually made in small oblong, square, or rounded cakes, a general pressure only (that of a 2- or 4-pound weight) being applied to press out the whey. After 12 hours it is placed upon a board or wood- en trencher, and turned every day until dry. It ripens in about 3 weeks. A little salt is generally added, and fre- quently a little powdered lump sugar. Damson. — Prepared from damsons boiled with a little water, the pulp passed through a sieve, and then boiled with about one-fourth the weight of sugar, until the mixture solidifies on cooling; it is next poured into small tin molds pre- viously dusted out with sugar. Cherry cheese, gooseberry cheese, plum cheese, etc., are prepared in the same way, using the respective kinds of fruit. They are all very agreeable candies or confections. Derbyshire. — A small, white, rich variety, very similar to Dunlop cheese. Dunlop. — Rich, white, and buttery; in round forms, weighing from 30 to 60 pounds. Dutch (Holland).— Of a globular form, 5 to 14 pounds each. Those from Edam are very highly salted; those from Gouda less so. Emmenthaler. — Same as Gruyere. Gloucester. — Single Gloucester, from milk deprived of part of its cream; dou- ble Gloucester, from milk retaining the whole of the cream. Mild tasted, semi- buttery consistence, without being fri- able; in large, round, flattish forms. Green or Sage.— From milk mixed with the Juice of an infusion or decoction of sage leaves, to which marigold flowers and parsley are frequently added. Gruyfere. — A fine kind of cheese made in Switzerland, and largely consumed on the Continent. It is firm and dry, and exhibits numerous cells of con- siderable magnitude. Holland. — Same as Dutch. Leguminous. — The Chinese prepare an actual cheese from peas, called tao- foo, which they sell in the streets of Can- ton. The paste from steeped ground peas is boiled, which causes the starch to dissolve with the casein; after straining the liquid it is coagulated by a solution of gypsum; this coagulum is worked up like sour milk, salted, and pressed into molds. Limburger. — A strong variety of cheese, soft and well ripened. . Lincoln. — From new milk and cream; in pieces about 2 inches thick. Soft, and win not keep over 2 or 3 months. CHEESE 177 Neufch^tel. — A much-esteemed vari- ety of Swiss cheese; made of cream, and weighs about 5 or 6 ounces. Norfolk. — Dyed yellow with annotta or saffron; good, but not superior; in cheeses of 30 to 50 pounds. Parmesan. — From the curd of skimmed milk, hardened by a gentle heat. The rennet is added at about 120°, and an hour afterwards the curdling milk is set on a slow fire until heated to about 150° F., during which the curd separates in small lumps. A few pinches of saffron are then thrown in. About a fortnight after making the outer crust is cut off, and the new surface varnished with lin- seed oil, and one side colored red. Roquefort. — From ewes' milk; the best prepared in France. It greatly resembles Stilton, but is scarcely of equal richness or quality, and possesses a peculiar pungency and flavor. Roquefort, Imitation. — The gluten of wheat is kneaded with a little salt and a small portion of a solution of starch, and made up into cheeses. It is said that this mixture soon acquires the taste, smell, and unctuosity of cheese, and when kept a certain t:me is not to be dis- tinguished from the celebrated Roquefort cheese, of which it possesses all the pecu- liar pungency. By slightly varying the process other kinds of cheese may be imitated. Sage. — Same as green cheese. Slipcoat or Soft. — A very rich, white cheese, somewhat resenibling butter; for present use only. Stilton. — The richest and finest cheese made in England. From raw milk to which cream taken from other milk is added; in cheeses generally twice as high as they are broad. Like wine, this cheese is vastly improved by age, and is therefore seldom eaten before it is 2 years old. A spurious appearance _ of age is sometimes given to it by placing it in a warm, damp cellar, or by sur- rounding it with masses of fermenting straw or dung. Stiffolk. — From skimmed milk; in round, flat forms, from 24 to 30 pounds each. Very hard and horny. Swiss.- — The principal cheeses made in Switzerland are the Gruyere, the Neufchatel, and the Schabzieger or green cheese. The latter is flavored with melitot. Westphalian. — Made in small balls ot rolls ot about 1 pound each. It derives its peculiar flavor from the curd being allowed to become partially putrid before being pressed. In small balls or rolls of about 1 pound each. Wiltshire. — Resembles Cheshire or Gloucester. The outside is painted with reddle or red ocher or whey. York. — From cream. It will not keep. We give below the composition of some of the principal varieties of cheese: Double Ched- Glouces- Skim dar ter Water 36.64 35.61 43.64 Casein 23.38 21.76 45.64 Fatty matter 35.44 38.16 5.76 Mineral matter. . 4.54 4.47 4.96 100.00 100.00 100.00 Stilton Cother- stone Water 32.18 38.28 Butter 37.36 30.89 Casein 24.31 23.93 Milk, sugar, and ex- tractive matters 2.22 3.70 Mineral matter 3.93 3.20 100.00 100.00 Gruyere Ordinary (Swiss) Dutch Water 40.00 36.10 Casein 31.50 29.40 Fatty matter 24.00 27.50 Salts... 3.00 .90 Non - nitrogenous or- ganic matter and loss 1.50 6.10 100.00 100.00 When a whole cheese is cut, and the consumption small, it is generally found to become unpleasantly dry, and to lose flavor before it is consumed. This is best prevented by cutting a sufficient quantity for a few days' consumption from the cheese, and keeping the re- mainder in a cool place, rather damp than dry, spreading a thin film of butter over the fresh surface, and covering it with a cloth or pan to keep off the dirt. This removes the objection existing in small families against purchasing a whole cheese at a time. The common practice of buying small quantities of cheese should be avoided, as not only a higher price is paid for any given quality, but there is little likelihood of obtaining exactly the same flavor t\vice running. Should cheese become too dry to be 178 CHEWING GUMS agreeable, it may be used for stewing, or for making grated cheese, or Welsn rarebits. Goats; Milk Cheese.— Goats' milk cheese is made as follows: Warm 20 quarts of milk and coagulate it with rennet, either the powder or extract. Separate the curds from the whey in a colander. After a few days the dry curd may be shaped into larger or smaller cheeses, the former only salted, the latter containing salt and caraway seed. The cheeses must be turned every day, and sprinkled with salt, and any mold re- moved. After a few days they may be put away on shelves to ripen, and left for several weeks. Pure goat's milk cheese should be firm and solid all the way through. Twenty quarts of milk will make about 4 pounds of cheese. CHEESE COLORANT: See Food. CHEMICAL GARDENS: See Gardens, Chemical. CHERRY BALSAM: See Balsam. CHERRY CORDIAL: See Wines and Liquors. Chewing Gums Manufacture. — The making of chew- ing gum is by no means the simple oper- ation which it seems to be. Much expe- rience in manipulation is necessary to succeed, and the published formulas can at best serve as a guide rather than as something to be absolutely and blindly followed. Thus, if the mass is cither too hard or soft, change the proportions until it is right; often it will be found that different purchases of the same article will vary in their characteristics when worked up. But given a basis, the man- ufacturer can flavor and alter to suit himself. The most successful manu- facturers attribute their success to the employment of the most approved ma- chinery and the greatest attention to details. The working formulas and the processes of these manufacturers are guarded as trade secrets, and aside from publishing general formulas, little in- formation can be given. Chicle gum is purified by boiling with water and separating the foreign matter. Flavorings, pepsin, sugar, etc., are worked in under pressure by suitable machinery. Formula: I. — Gum chicle 1 pound Sugar 2 pounds Glucose 1 pound Caramel butter 1 pound First mash and soften the gum at a gentle heat. Place the sugar and glu- cose in a small copper pan; add enough water to dissolve the sugar; set on a fire and cook to 244° F.; lift off the fire; add the caramel butter and lastly the gum; mix well into a smooth paste; roll out on a smooth marble, dusting with finely pow- dered sugar, run through sizing machine to the proper thickness, cut into strips, and again into thin slices. II. — Chicle 6 ounces Paraffine 2 ounces Balsam of Tolu ... 2 drachms Balsam of Peru. . . 1 drachm Sugar 20 ounces Glucose 8 ounces Water 6 ounces Flavoring, enough. Triturate the chicle and balsams in water, take out and add the paraffine, first heated. Boil the sugar, glucose, and water together to what is known to confectioners as "crack " heat, pour the syrup over the oil slab and turn into it the gum mixture, which will make it tougn and plastic. Add any desired flavor. III. — Gum chicle 122 parts Paraffine 42 parts Balsam of Tolu .... 4 parts Sugar 384 parts Water 48 parts Dissolve the sugar in the water by the aid of heat and pour the resultant syrup on an oiled slab. Melt the gum, balsam, and paraffine together and pour on top of the syrup, and work the whole up to- gether. IV. — Gum chicle 240 parts White wax 64 parts Sugar 640 parts Glucose 128 parts Water 192 parts Balsam of Peru ... 4 parts Flavoring matter, enough. Proceed as indicated in II. V. — Balsam of Tolu 4 parts Benzoin 1 part White wax 1 part Paraffine 1 part Powdered sugar. ... 1 part Melt together, mix well, and roll into sticks of the usual dimensions. Mix, and, when sufficiently cool, roll out into sticks or any other desirable form. CHEWING GUMS— CHOLERA REMEDIES 179 Spruce Chewing Gum. — Spruce gum 20 parts Chicle 20 parts Sugar, powdered. . 60 parts Melt the gums separately, mix while hot, and immediately add the sugar, a small portion at a time, kneading it thor- oughly on a hot slab. When com- pletely incorporated remove to a cold slab, previously dusted with powdered sugar, roll out at once into sheets, and cut into sticks. Any desired flavor or color may be added to or incorporated with the sugar. CHICKEN-COOP APPLICATION: See Insecticides. CHICKEN DISEASES AND THEIR REMEDIES: See Veterinary Formulas. CHICORY, TESTS FOR: See Foods. CHILBLAINS: See Ointments. CHILBLAIN SOAP: See Soap. CHILDREN, DOSES FOR: See Doses. CHILLS, BITTERS FOR: See Wines and Liquors. CHINA CEMENTS: See Adhesives and Lutes. CHINA: See Ceramics. CHINA, TO REMOVE BURNED LET- TERS FROM: See Cleaning Preparations and Meth- ods, under Miscellaneous Methods. CHINA REPAIRING: See Porcelain. CHINA RIVETING. China riveting is best left to practical men, but it can be done with a drill made from a splinter of a diamond fixed on a handle. If this is not to be had, get a small three-cornered file, harden it by placing it in the fire till red hot, and then plunging it in cold water. Next grind the point on a grindstone and finish on an oilstone. With the point pick out the place to be bored, taking care to do it gently for fear of breaking the article. In a little while a piece will break off, then the hole can easily be made by working the point round. The wire may then be passed through and fas- tened. A good cement may be made from 1 ounce of grated cheese, f ounce of finely powdered quicklime, and white of egg sufl3cient to make a paste. The less cement applied the better, using a feather to spread it over the broken edge. CHLORIDES, PLATT'S: See Disinfectants. CHLORINE-PROOFING : See Acid- Proofing. CHOCOLATE. Prepare 1,000 parts of finished cacao and 30 parts of fresh cacao oil, in a warmed, polished, iron mortar, into a liquid substance, add to it 800 parts of finely powdered sugar, and,i after a good consistency has been reached, 60 parts of powdered iron lactate and 60 parts of sugar syrup, finely rubbed together. Scent with 40 parts of vanilla sugar. Of this mass weigh out tablets of 125 parts into the molds. Coating Tablets with Chocolate. — If a chocolate which is free from sugar be placed in a dish over a water bath, it will melt into a fluid of proper consistence for coating tablets. No water must be added. The coating is formed by dip- ping the tablets. When they are suffi- ciently hardened they are laid on oiled paper to dry. CHOCOLATE CASTOR - OIL LOZ- ENGES: See Castor Oil. CHOCOLATE CORDIAL: See Wines and Liquorp. CHOCOLATE EXTRACTS: See Essences and Extracts. CHOCOLATE SODA WATER: See Beverages. CHOKING IN CATTLE: See Veterinary Formulas. CHOLERA REMEDIES: Sun Cholera Mixture. — Tincture of opium ... 1 part Tincture of capsicum. 1 part Tincture of rhubarb. . 1 part Spirit of camphor .... 1 part Spirit of peppermint . . 1 pa-t Squibb's Diarrhea Mixture. — Tincture opium 40 parts Tincture capsicum. . . 40 parts Spirit camphor 40 parts Chloroform 15 parts Alcohol 65 parts 180 CHOLERA REMEDIES— CIDER Aromatic Rhubarb. — ■ Cinnamon, ground . . 8 parts Rhubarb 8 parts Calumba 4 parts Saffron 1 part Powdered opium. ... 2 parts Oil peppermint 6 parts Alcohol, q. s. ad . . . . 100 parts Macerate the ground drugs with 75 parts alcohol in a closely covered per- colator for several days, then allow per- colation to proceed, using sufficient al- cohol to obtain 95 parts of percolate. In percolate dissolve the oil of peppermint. Rhubarb and Camphor. — Tincture capsicum ... 2 ounces Tincture opium 2 ounces Tincture camphor.. . . 3 ounces Tincture catechu 4 ounces Tincture rhubarb. ... 4 ounces Spirit peppermint. ... 4 ounces Blackberry Mixture. — Fluid extract black- berry root 2 pints Fluid ginger, soluble. 5 J ounces Fluid catechu 5J ounces Fluid opium for tinc- ture 160 minims Brandy 8 ounces Sugar 4 pounds Essence cloves 256 minims Essence cinnamon . . 256 minims Chloroform 128 minims Alcohol (25 percent), q. s. ad 1 gallon CHOWCHOW: See Condiments. CHROME YELLOW, TEST FOR: See Pigments. CHROMIUM GLUE: See Adhesives. CHROMO MAKING. The production of chromo pictures requires a little skill. Practice is neces- sary. The glass plate to be used should be washed off with warm water, and then laid in a 10 per cent solution of nitric acid. After one hour, wash with clean, cold water, dry with a towel, and polish the plate with good alcohol on the in- side — hollow side — until no finger marks or streaks are visible. This is best as- certained by breathing on the glass; the breath should show an even blue surface on the glass. Coat the unmounted photograph to be colored with benzine by means of wad- ding, but without pressure, so that the retouching of the picture is not dis- turbed. Place 2 tablets of ordinary kitchen gelatin in 8f ounces of distilled or pure rain water, soak for an hour, and then heat until the gelatin has com- pletely dissolved. Pour this warm solu- tion over the polished side of the glass, so that the liquid is evenly distributed. The best way is to pour the solution on the upper right-hand corner, allowing it to flow into the left-hand corner, from there to the left below and right below, finally letting the superfluous liquid run off. Take the photograph, which has been previously slightly moistened on the back, lay it with the picture side on the gelatin-covered plate, cen- tering it nicely, and squeeze out the excess gelatin solution gently, prefer- ably by means of a rubber squeegee. Care must be taken, however, not to dis- place the picture in this manipulation, as it is easily spoiled. The solution must never be allowed to boil, since this would render the gelatin brittle and would result in the picture, after having been finished, cracking off from the glass in a short time. When the picture has been attached to the glass plate without blisters (which is best ob- served from the back), the edge of the glass is cleansed of gelatin, preferably by means of a small sponge and luke- warm water, and the plate is allowed to dry over night. When the picture and the gelatin are perfectly dry, coat the back of the picture a few times with castor oil until it is per- fectly transparent; carefully remove the oil without rubbing, and proceed with the painting, which is best accomplished with good, not over-thick oil colors. The coloring must be observed from the glass side, and for this reason the small details, such as eyes, lips, beard, and hair, should first be sketched in. When the first coat is dry the dress and the flesh tints are painted. The whole surface may be painted over, and it is not neces- sary to paint shadows, as these are al- ready present in the picture, and con- sequently show the color through in varying strength. When the coloring has dried, a second glass plate should be laid on for protec- tion, pasting the two edges together with narrow strips of linen. Cider To Make Cider.— Pick the apples off the tree by hand. Every apple before going into the press should be carefully croER 181 wiped. As soon as a charge of apples is ground, remove the pomace and put in a cask with a false bottom and a strainer beneath it, and a vessel to catch the drainage from pomace. As fast as the juice runs from the press place it in clean, sweet, open tubs or casks with the heads out and provide with a faucet, put in about two inches above bottom. The juice should be closely watched and as soon as the least sign of fermentation ap- pears (bubbles on top, etc.) it should be run off into casks prepared for this pur- pose and placed m a moderately cool room. The barrels should be entirely filled, or as near to the bunghole as possible. After fermentation is well under way the spume or foam should be scraped off with a spoon several times a day. When fermentation has ceased the cider is racked off into clean casks, filled to the bunghole, and the bung driven in tightly. It is now ready for use or for bottling. Champagne Cider. — I. — To convert or- dinary cider into champagne cider, pro- ceed as follows: To 100 gallons of good cider add 3 gallons of strained honey (or 24 pounds of white sugar will answer), stir in well, tightly bung, and let alone for a week. Clarify the cider by adding a half gallon of skimmed milk, or 4 ounces of gelatin dissolved in sufficient hot water and add 4 gallons of proof spirit. Let stand 3 days longer, then syphon off, bottle, cork, and tie or wire down. Bunging the cask tightly is done in order to induce a slow fermentation, and thus retain in the cider as much darbonic acid as possible. II. — Put 10 gallons of old and clean cider in a strong and iron-bound cask, pitched within (a sound beer cask is the very thing), and add and stir in well 40 ounces of simple syrup. Add 5 ounces of tartaric acid, let dissolve, then add 7 J ounces sodium bicarbonate iu powder. Have the bung ready and the moment the soda is added put it in and drive it home. The cider will be ready for use in a few hours. Cider Preservative. — I.^The addition of 154 grains of bismuth subnitrate to 22 gallons of cider prevents, or materially retards, the hardening of the beverage on exposure to air; moreover, the bismuth saU renders alcoholic fermentation more complete. II. — Calcium sulphite (sulphite of lime) is largely used to prevent fermen- tation in cider. About | to J of an ounce of the sulphite is required for 1 gallon of cider. It should first be dissolved in a small quantity of cider, then added to the bulk, and the whole agitated until thoroughly mixed. The barrel should then be bunged and allowed to stand for several days, until the action of the sul- phite is exerted. It will preserve the sweetness of cider perfectly, but care should be taken not to add too much, as that would impart a slight sulphurous taste. Artificial Ciders. — To 25 gallons of soft water add 2 pounds of tartaric acid, 25 or 30 pounds of sugar, and a pint of yeast; put in a warm place, and let fer- ment for 15 days, then add the flavoring matter to suit taste. The various fruit ethers are for sale at any wholesale drug house. Bottling Sweet Cider. — Champagne quarts are generally used for bottling cider, as they are strong and will stand pressure, besides being a convenient size for consumers. In making cider champagne the liquor should be clari- fied and bottled in the sweet condition, that is to say, before the greater part of the sugar which it contains has been converted into alcohol by fermentation. The fermentation continues, to a certain extent, in the bottle, transforming more of the sugar into alcohol, and the car- bonic acid, being unable to escape, is dissolved in the cider and produces the sparkling. The greater the quantity of sugar contained in the liquor, when it is bot- tled, the more complete is its carbona- tion by the carbonic-acid gas, and con- sequently the more sparkling it is when poured out. But this is true only within certain limits, for if the production of sugar is too high the fermentation will be arrested. To make the most sparkling cider the liquor is allowed to stand for three, four, five, or six weeks, during which fermen- tation proceeds. The time varies ac- cording to the nature of the apples, and also to the temperature; when it is very warm the first fermentation is usually completed in 7 days. Before bottling, the liqm"d must be fined, and this is oest done with catechu dissolved in cold cider, 2 ounces of cate- chu to the barrel of cider. This is well stirred and left to settle for a few days. The cider at this stage is still sweet, and it is a point of considerable nicety not to carry the first fermentation too far. The bottle should not be quite filled, so as to allow more freedom for the carbonic-acid gas which forms. When the bottles have been filled. 182 CIDER— CIGARS corked, and wired down, they should be placed in a good cellar, which should be dry, or else the cider will taste of the cork. The bottles should not be laid for four or five weeks, or breakage will ensue. When they are being laid they should be placed on laths of wood or on dry sand; they should never be allowed on cold or damp floors. Should the cider be relatively poor in sugar, or if it has been fermented too far, about 1 ounce of powdered loaf sugar can be added to each bottle, or else a measure of sugar syrup before pouring in the cider. Imitation Cider. — I. — A formula for an imitation cider is as follows: Rain water 100 gallons Honey, unstrained . . 6 gallons Catechu, powdered. 3 ounces Alum, powdered. ... 5 ounces Yeast (brewer's pref- erably) 2 pints Mix and put in a warm place to fer- ment. Let ferment for about 15 days; then add the following, stirring well in: Bitter almonds, crushed 8 ounces Cloves . ." 8 ounces Let stand 24 hours, add two or three gallons of good whiskey, and rack off into clean casks. Bung tightly, let stand 48 hours, then bottle. If a higher color is desired use caramel sufficient to pro- duce the correct tinge. If honey is not obtainable, use sugar-house molasses instead, but honey is preferable. II. — The following, when properly prepared, makes a passable substitute for cider, and a very pleasant drink: Catechu, powdered. 3 parts Alum, powdered. . . 5 parts Honey 640 parts Water 12,800 parts Yeast 32 parts Dissolve the catechu, alum, and honey in the water, add the yeast, and put in some warm place to ferment. The con- tainer should be filled to the square open- ing, made by sawing out five or si.x inches of the center of a stave, and the spume skimmed off daily as it arises. In cooler weather from 2 weeks to 18 days will be required for thorough fermentation. In warmer weather from 12 to 13 days will be sufficient. When fermentation is com- plete add the following solution: Oil of bitter almonds 1 part Oil of clover 1 part Caramel 32 parts Alcohol 192 parts The alcohol may be replaced by twice its volume of good bourbon whiskey. A much cheaper, but correspondingly poor substitute for the above may be made as follows: Twenty-five gallons of soft water, 2 pounds tartaric acid, 25 pounds of brown sugar, and 1 pint of yeast are allowed to stand in a warm place, in a clean cask with the bung out, for 24 hours. Then bung up the cask, after adding 3 gallons of whiskey, and let stand for 48 hours, after which the liquor is ready for use. CIDER VINEGAR: See Vinegar. Cigars Cigar Sizes and Colors. — Cigars are named according to their color and shape. A dead-black cigar, for instance, is an "Oscuro," a very dark-brown one is a "Colorado," a medium brown is a "Colorado Claro," and a yellowish light brown is a "Claro." Most smokers know the names of the shades from "Claro" to "Colorado," and that is as far as most of them need to know. As to the shapes, a "Napoleon" is the biggest of all cigars — being 7 inches long; a "Per- fecto" swells in the middle and tapers down to a very small head at the lighting end; a "Panatela" is a thin, straight, up- and-down cigar without the graceful curve of the ' Perfecto"; a "Conchas" is very short and fat, and a "Londres" is shaped like a "Perfecto" except that it does not taper to so small a head at the lighting end. A "Reina Victoria" is a "Londres" that comes packed in a rib- bon-tied bundle of 50 pieces, instead of in the usual four layers of 13, 12, 13 and 12. How to Keep Cigars. — Cigars kept in a case are influenced every time the case is opened. Whatever of taint there may be in the atmosphere rushes into the case, and is finally taken up by the cigars. Even though the cigars have the appear- ance of freshness, it is not the original freshness in which they were received from the factory. They have been dry, or comparatively so, and have absorbed more moisture than has been put in the case, and it matters not what that mois- ture may be, it can never restore the flavor that was lost during the drying-out process. After all, it is a comparatively simple matter to take good care of cigars. All that is necessary is a comparatively air- tight, zinc-lined chest. This should be CIGARS— CLARET PUNCH 183 behind the counter in a place where the temperature is even. When a customer calls for a cigar the dealer takes the box out of the chest, serves his customer, and then puts the box back again. The box being opened for a moment the cigars are not perceptibly affected. The cigars in the close, heavy chest are always safe from atmospheric influences, as the boxes are closed, and the chest is open but a moment, while the dealer is taking out a box from which to serve his customer. Some of the best dealers have either a large chest or a cool vault in which they keep their stock, taking out from time to time whatever they need for use. Some have a number of small chests, in which they keep different brands, so as to avoid opening and closing one particular chest so often. It may be said that it is only the high- er priced cigars that need special care in handling, although the cheaper grades are not to be handled carelessly. The Havana cigars are more susceptible to change, for there is a delicacy of flavor to be preserved that is never present in the cheaper grades of cigars. Every dealer must, of course, make a display in his show case, but he need not serve his patrons with these cigars. The shrinkage in value of the cigars in the case is merely a business proposition of profit and loss. Cigar Flavoring. — I; — Macerate 2 ounces of cinnamon and 4 ounces of tonka beans, ground fine, in 1 quart of rum. II. — Moisten ordinary cigars with a strong tincture of cascarilla, to which a little gum benzoin and storax may be added. Some persons add a small quan- tity of camphor or oil of cloves or cassia. III. — Tincture of valerian. 4 drachms Butyric aldehyde. . . 4 drachms Nitrous ether 1 drachm Tincture vanilla .... 2 drachms Alcohol 5 ounces Water enough to make 16 ounces IV. — Extract vanilla 4 ounces Alcohol i gallon Jamaica rum i gallon Tincture valerian. . . 8 ounces Caraway seed 2 ounces English valerian root 2 ounces Bitter orange peel. . . 2 ounces Tonka beans 4 drachms Myrrh 16 ounces Soak the myrrh for 3 days in 6 quarts of water, add the alcohol, tincture va- lerian, and extract of vanilla, and after grinding the other ingredients to a coarse powder, put all together in a jug and macerate for 2 weeks, occasionally shak- ing; lastly, strain. V. — Into a bottle filled with J pint of French brandy put IJ ounces of cascar- illa bark and IJ ounces of vanilla pre- viously ground with J pound of sugar; carefully close up the flask and distil in a warm place. After 3 days pour off the litjuid, and add i pint of mastic extract. The finished cigars are moistened with this liquid, packed in boxes, and pre- served from air by a well-closed lid. They are said to acquire a pleasant flavor and mild strength through this treat- ment. Cigar Spots. — The speckled appear- ance of certain wrappers is due to the work of a species of fungus that attacks the growing tobacco. In a certain dis- trict of Sumatra, which produces an ex- ceptionally fine tobacco for wrappers, the leaves of the plant are commonly speckled in this way. Several patents have been obtained for methods of spot- ting tobacco leaves artificially. A St. Louis firm uses a solution composed of: Sodium carbonate 3 parts Calx chlorinata 1 part Hot water 8 parts Dissolve the washing soda in the hot water, add the chlonnated lime, and heat the mixture to a boiling tempera- ture for 3 minutes. When cool, decant into earthenware or stoneware jugs, cork tightly, and keep in a cool place. The corks of jugs not intended for immediate use should be covered with a piece of bladder or strong parchment paper, and tightly tied down to prevent the escape of gas, and consequent weakening of the bleaching power of the fluid. The pre- pared liquor is sprinkled on the tobacco, the latter being then exposed to light and air, when, it is said, the disagreeable odor produced soon disappears. CINCHONA: See Wines and Liquors. CINNAMON ESSENCE: See Essences and Extracts. CINNAMON OIL AS AN ANTISEPTIC: See Antiseptics. CITRATE OF MAGNESIUM: See Magnesium Citrate. CLARET LEMONADE AND CLARET PUNCH: See Beverages, under Lemonades. 184 CLARIFYING— CLEANING PREPARATIONS CLARIFICATION OF GELATIN AND GLUE: See Gelatin. CLARIFYING. Clarification is the process by which any solid particles suspended in a liquid are either caused to coalesce together or to adhere to the medium used for clar- ifying, that they may be removed by fil- tration (which would previously have been impossible), so as to render the liquid clear. One of the best agents for this purpose is albumen. When clarifying vegetable extracts, the albumen which is naturally present in most plants accomplishes this purpose easily, provided the vegetable matter is extracted in the cold, so as to get as much albumen as possible in solu- tion. Egg albumen may also be used. The effect of albumen may be increased by the addition of cellulose, in the form of a fine magma of filtering paper. This has the further advantage that the subse- quent filtration is much facilitated. Suspended particles of gum or pectin majf be removed by cautious precipita- tion with tannin, of which only an ex- ceedingly small amount is usually neces- sary. It combines with the gelatinous substances better with the aid of heat than in the cold. There must be no ex- cess of tannin used. Another method of clarifying liquids turbid from particles of gum, albumen, pectin, etc., is to add to them a definite quantity of alcohol. This causes the former substances to separate in more or less large flakes. The quantity of alco- hol required varies greatly according to the nature of the liquid. It should be determined in each case by an experiment on a small scale. Resinous or waxy substances, such as are occasionally met with in honey, etc., may be removed by the addition of bole, Eulped filtering paper, and heating to oiling. In each case the clarifying process may be hastened by making the separat- ing particles specifically heavier; that is, by incorporating some heavier sub- Stance, such as talcum, etc., which may cause the flocculi to sink more rapidly, and to form a compact sediment. Clarifying powder for alcoholic liquids: Egg albumen, dry 40 parts Sugar of milk 40 parts Starch 20 parts Reduce them to very fine powder, and mix thoroughly. For clarifying liquors, wines, essences, etc., take for every quart of liquid 75 grains of the above mixture, shake re- peatedly in the course of a few days, the mixture being kept in a warm room, then filter. Powdered talcum renders the same service, and has the additional advan- tage of being entirely insoluble. How- ever, the above mixture acts more ener- getically. CLAY: Claying Mixture for Forges. — Twenty parts fire clay; 20 parts cast-iron turn- ings; 1 part common salt; J part sal am- moniac; all by measure. The materials should be thoroughly mixed dry and then wet down to the con- sistency of common mortar, constantly stirring the mass as the wetting proceeds. A rough mold shaped to fit the tuyere opening, a trowel, and a few minutes' time are all that are needed to complete the successful claying of the forge. This mixture dries hard and when glazed by the fire will last. Plastic Modeling Clay. — A perma- nently plastic clay can be obtained by first mixing it with glycerine, turpen- tine, or similar bodies, and then adding vaseline or petroleum residues rich in vaseline. The proportion of clay to the vaseline varies according to the desired consistency of the product, the admix- ture of vaseline varying from 10 to 50 per cent. It is obvious that the hardness of the material decreases with the amount of vaseline added, so that the one richest in vaseline will be the softest. By the use of various varieties of clay and the suitable choice of admixtures, the plasticity, as well as the color of the mass, may be varied. Cleaning Preparations and Methods (See also Soaps, Polishes, and House- hold Formulas). TO REMOVE STAINS FROM THE HANDS: Removal of Aniline-Dye Stains from the Skin. — Rub the stained skin with a pinch of slightlj; moistened red crys- tals of chromic trioxide until a distinct sensation of warmth announces the de- struction of the dye stuff by oxidation and an incipient irritation of the skin. Then rinse with soap and water. A sin- gle application usually suffices to remove CLEANING PREPARATIONS AND METHODS 185 the stain. It is hardly necessary to call attention to the poisonoiisness and strong caustic action of chromic trioxide; but only moderate caution is required to avoid evil effects. Pyrogallic-Acid Stains oh the Fingers (see also Photography). — Pyro stains may be prevented fairly well by rubbing in a little wool fat before beginning work. A very effective way of eliminating devel- oper stains is to dip the finger tips occa- sionally during development into the clearing bath. It is best to use the clearing bath, with ample friction, be- fore resorting to soap, as the latter seems to have a fixing effect upon the stain. Lemon peel is useful for removing pyro stains, and so are the ammonium per- sulphate reducer and the thiocarbamide clearer. To Clean Very Soiled Hands.— In the morning wash in warm water, using a stiff brush, and apply glycerine. Re- peat the application two or three times during the day, washing and brushing an hour or so afterwards, or apply a warm solution of soda or potash, and wash in warm water, using a stiff brush as before. Finally, rub the nands' with pumice or infusorial earth. There are soaps made especially for this purpose, similar to those for use on woodwork, etc., in which infusorial earth or similar matter is incorporated. To Remove Kitric-Acid Stains. — One plan to avoid stains is to use rubber finger stalls, or rubber gloves. Nitric- acid stains can be removed from the hands by painting the stains with a solu- tion of permanganate of potash, and washing off the permanganate with a 5 per cent solution of hydrochloric (muri- atic) acid. After this wash the hands with pure castile soap. Any soap that roughens the skin should be avoided at all times. Castile soap is the best to keep the skin in good condition. CLEANING GILDED ARTICLES: To Clean Gilt Frames and Gilded Sur- faces Generally. — Dip a soft brush in alcohol to which a few drops of ammonia , water has been added, and with it go over the surface. Do not rub — at least, not roughly, or harshly. In the course of five minutes the dirt will have become soft, and easy of removal. Then go over the surface again gently with the same or a similar brush dipped in rain water. Now lay the damp article in the sunlight to dry. If there is no sunlight, place it near a warm (but not hot) stove, and let dry completely. In order to avoid streaks, take care that the position of the article, during the drying, is not exactly vertical. To Clean Fire-Gilt Articles.— Fire-gilt articles are cleaned, according to their condition, with water, diluted hydro- chloric acid, ammonia, or potash solu- tion. If hydrochloric acid is employed thorough dilution with water is especially necessary. The acidity should hardly be noticeable on the tongue. To clean gilt articles, such as gold moldings, e^c, when they have become tarnished or covered with flyspecks, etc., rub them slowly with an onion cut in half and dipped in rectified alcohol, and wash off lightly with a moist soft sponge after about 2 hours. Cleaning Gilded and Polychrbmed Work on Altars. — To clean bright gold a fine little sponge is used which is moistened but lightly with tartaric acid and passed over the gilding. Next go over the gilt work with a small sponge saturated with alcohol to remove all dirt. For matt gilding, use only a white flannel dipped in lye, and carefully wipe off the dead gold with this, drying next with a fine linen rag. To clean polj;chromed work sponge with a lye of rain water, 1,000 parts, and calcined potash, 68 parts, and immediately wash off with a clean sponge and water, so that the lye does not attack the paint too much. SPOT AND STAIN REMOVERS: To Remove Aniline Stains. — I. — Sodium nitrate 7 grains Diluted sulphuric acid 15 grains Water 1 ounce Let the mixture stand a day or two before using. Apply to the spot with a sponge, and rinse the goods with plenty of water. II. — An excellent medium for the re- moval of aniline stains, which are often very stubborn, has been found to be liquid opodeldoc. After its use the stains are said to disappear at once and entirely. Cleansing Fluids. — A spot remover is made as follows: I. — Saponine 7 parts Water 130 parts Alcohol 70 parts Benzine 1,788 parts Oil mirbane 5 parts II. — Benzene (benzol).. 89 parts Ascetic ether 10 parts Pear oil 1 part This yields an effective grease eradi- cator, of an agreeable odor. 186 CLEANING PREPARATIONS AND METHODS in. — ^To Remove Stains of Sulphate of copper, or of salts . of mercury, silver, or gold from the hands, etc., wash them first with a dilute solution either of ammonia, iodide, bromide, or cyanide of potassium, and then with plenty of water; if the stains are old ones they should first be rubbed with the strongest acetic acid and then treated as above. Removal of Picric-Acid Stains. — I. — Recent stains of picric acid may be re- moved readily if the stain is covered with a layer of magnesium carbonate, the car- bonate moistened with a little water to form a paste, and the paste then rubbed over the spot. II. — Apply a solution of Boric acid 4 parts Sodium benzoate. ... 1 part Water 100 parts TTT . — Dr. Prieur, of Besan9on, recom- mends lithium carbonate for the removal of picric-acid stains from the skin or from linen. The method of using it is simply to lay a small pinch on the stain, and moisten the latter with water. Fresh stains disappear almost instantly, and old ones in a minute or two. To Remove Finger Marks from Books, etc. — I. — Pour benzol (not benzine or gasoline, but Merck's "c. p." crystalliz- able) on calcined magnesia until it be- comes a crumbling mass, and apply this to the spot, rubbing it in lightly, with the tip of the finger. When the benzol evaporates, brush off. Any dirt that re- mains can be removed by using a piece of soft rubber. II. — If the foregoing fails (which it sometimes, though rarely, does), try the following: Make a hot solution of sodium hydrate in distilled water, of strength of " from 3 per cent to 5 per cent, according to the age, etc., of the stain. Have pre- pared some bits of heavy blotting paper somewhat larger than the spot to be re- moved; also, a blotting pad, or several pieces of heavy blotting paper. Lay the soiled page face downward on the blot- ting pad, then, saturating one of the bits of plotter with the hot sodium hydrate solution, put it on the stain and go over it with a hot smoothing iron. If one ap- plication does not remove all the grease or stain, repeat the operation. Then saturate another bit of blotting paper with a 4 per cent or 5 per cent solution of hy- drochloric acid in distilled water, apply it to the place, and pass the iron over it to neutralize the strong alkali. This process will instantly restore any faded writing or printing, and make the paper bright and fresh again. Glycerine as a Detergent.— For cer- tain kinds of obstinate spots (such as coffee and chocolate, for instance) there is no better detergent than glycerine, especially for fabrics with delicate colors. Apply the glycerine to the spot, with a sponge or otherwise, let stand a min- ute or so, then wash off with water or alcohol. Hot glycerine is even more efficient than cold. CLEANING SKINS AND LEATHER: See also Leather. To Clean Colored Leather. — Pour car- bon bisulphide on non-vulcanized gutta- Eercha, and allow it to stand about 24 ours. After shaking actively add more gutta-percha gradually until the solution becomes of gelatinous consistency. This mixture is applied in suitable quan- tity to oil-stained, colored leather and allowed to dry two or three hours. The subsequent operation consists merely in removing the coat of gutta-percha from the surface of the leatner — that is, rub- bing it with the fingers, and rolling it off the surface. The color is not injured in the least by the sulphuret pf carbon; only those leathers on which a dressing containing starch has been used look a little lighter in color, but the better class of leathers are not so dressed. The dry gutta-per- cha can be redissolved in sulphuret of carbon and used over again. To Clean Skins Used for Polishing Purposes. — First beat them thoroughly to get rid of dust, then go over the surface on both sides with a piece of good white soap and lay them in warm water in which has been put a little soda. Let them lie here for 2 hours, then wash them in plenty of tepid water, rubbing them vigorously until perfectly clean. This bath should also be made alkaline with soda. The skins are finally rinsed in warm water, and dried quickly. Cold water must be avoided at sdl stages of the cleansing process, as it has a tendency to shrink and harden the skins. The best way to clean a chamois skin is to wash and rinse it out in clean water immediately after use, but this practice is apt to be neglected so that the skin be- comes saturated with dirt and grime. To clean it, first thoroughly soak in clean, soft water. Then, after soaping it and rolling it into a compact wad, beat with a small round stick — a buggy spoke, say — turning the wad over repeatedly, and keeping it well wet and soaped. This should suffice to loosen the dirt. Then rinse in clean water until the skin CLEANING PREPARATIONS AND METHODS 187 is clean. As wringing by hand is apt to injure the chamois skin, it is advisable to use a small clothes wringer. Before using the skin again rinse it in clear water to which a little pulverized alum has been added. STRAW-HAT RENOVATION: To Renovate Straw Hats. — I. — Hats made of natural (uncolored) straw, which have become soiled by wear, may be cleaned by thoroughly sponging with a weak solution of tartaric acid in water, followed by water alone. The hat after being so treated should be fastened by the rim to a board by means of pins, so that it will keep its shape in drying. n. — Sponge the straw with a solution of By weight Sodium hyposulphite. 10 parts Glycerine 5 parts Alcohol 10 parts Water 75 parts Lay aside in a damp place for 24 hours and then apply By weight Citric acid 2 parts Alcohol 10 parts Water 90 parts Press with a moderately hot iron, after stiffening with weak gum water, if neces- sary. in. — ^If the hat has become much dark- ened in tint by wear the fumes of burning sulphur may be employed. The material should be first cleaned by thoroughly sponging with an aqueous solution of potassium carbonate, followed by a sim- ilar application of water, and it is then suspended over the sulphur fumes. These are generated by placing in a metal or earthen dish, so mounted as to keep the heat from setting fire to anything beneath, some brimstone (roll sulphur), and sprinkling over it some live coals to start combustion. The operation is con- ducted in a deep box or barrel, the dish of burning sulphur being placed at the bottom, and the article to be bleached being suspended from a string stretched across the top. A cover not fitting so tightly as to exclude all air is placed over it, and the apparatus allowed to stand for a few hours. Hats so treated will require to be stif- fened by the application of a little gum water, and pressed on a block with a hot iron to bring them back into shape. Waterproof Stiffening for Straw Hats. —If a waterproof stiffening is required use one of the varnishes for which for- mulas follow: I. — Copal 450 parts Sandarac 75 parts Venice turpentine 40 parts Castor oil 5 parts Alcohol 800 parts II. — Shellac 500 parts Sandarac 175 parts Venice turpentine 50 parts Castor oil 15 parts Alcohol 2,000 parts III.— Shellac 750 parts Rosin 150 parts Venice turpentine 150 parts Castor oil 20 parts Alcohol 2,500 parts How to Clean a Panama Hat. — Scrub with castile soap and warm water, a nail brush being used as an aid to get the dirt away. The hat is then placed in the hot sun to dry and in the course of two or three hours is ready for use. It will not only be as clean as when new, but it will retain its shape admirably. The cleaned hat will be a trifle stiff at first, but will soon grow supple under wear. A little glycerine added to the rinsing water entirely prevents the stiffness and brittleness acc|uired by some hats in dry- ing, while a little ammonia in the wash- ing water materially assists in the scrub- bing process. Ivory, or, in fact, any good white soap, will answer as well as castile for the purpose. It is well to rinse a second time, adding the glycerine to the water used the second time. Im- merse the hat completely in the rinse water, moving it about to get rid of traces of the dirty water. When the hat has been thoroughly rinsed, press out the surplus water, using a Turkish bath towel for the purpose, and let it rest on the towel when drying. PAINT, VARNISH, AND ENAMEL RE- MOVERS: To Remove Old Oil, Paint, or Varnish Coats. — I. — Apply a mixture of about 5 ■ parts of potassium silicate (water glass, 36 per cent), about 1 part of soda lye (40 per cent), and 1 part of ammonia. The composition dissolves the old varnish coat, as well as the paint, down to the bottom. The varnish coatings which are to be removed may be brushed off or left for days in a hardened state. Upon being thoroughly moistened with water the old varnish may be readily washed off, the lacquer as well as the oil paint coming off completely. The ammonia otherwise employed dissolves the var- nish, but not tlie paint. 188 CLEANING PREPARATIONS AND METHODS II. — Apply a mixture of 1 part oil of turpentine and 2 parts of ammonia. This is effective, even if the coatings withstand the strongest lye. The two liquids are shaken in a bottle until they mix like milk. The mixture is applied to the coating with a little oakum; altera few minutes the old paint can be wiped off. To Clean Brushes and Vessels of Dry Paint (see also Brushes and Paints). — The cleaning of the brushes and ves- sels in which the varnish or oil paint had dried is usually done by boiling with soda solution. This frequently spoils the brushes or cracks the vessels if of glass; besides, the process is rather slow and dirty. A much more suitable remedy is amyl acetate, which is a liquid with a pleasant odor of fruit drops, used mainly for dissolving and cementing celluloid. If amyl acetate is poured over a paint brush the varnish or hardened paint dis- solves almost immediately and the brush is again rendered serviceable at once. If necessary, the process is repeated. For cleaning vessels shake the liquid about in them, which softens the paint so that it can be readily removed with paper. In this manner much labor can be saved. The amyl acetate can be easily removed from the brushes, etc., by alcohol or oil of turpentine. Varnish and Paint Remover. — Dis- solve 20 parts of caustic soda (98 per cent) in 100 parts of water, mix the solu- tion with 20 parts of mineral oil, and stir in a kettle provided with a mechanical stirrer, until the emulsion is complete. Now add, with stirring, 20 parts of saw- dust and pass the whole through a paint mill to obtain a uniform intermixture. Apply the paste moist. To Remove Varnish from Metal. — To remove old varnish from metals, it suf- fices to dip the articles in equal parts of ammonia and alcohol (95 per cent). To Remove Water Stains from Var- nished Furniture. — Pour olive oil into a dish and scrape a little white wax into it. This mixture should be heated until the wax melts and rubbed sparingly on the stains. Finally, rub the surface with a linen rag until it is restored to bril- liancy. To Remove Paint, Varnish, etc., from Wood. — Varnish, paint, etc., no matter how old and hard, may be softened in a few minutes so that they can be easily scraped off, by applying the following mixture: Water glass 5 parts Soda lye, 40° B. (27 per cent) 1 part Ammonia water 1 part Mix. Removing Varnish, etc. — A patent has been taken out in England for a liquid for removing varnish, lacquer, tar, and paint. The composition is made by mixing 4 ounces of benzol, 3 ounces of fusel oil, and 1 ounce of alcohol. It is stated by the inventor that this mixture, if applied to a painted or varnished sur- face, will make the surface quite clean in less than 10 minutes, and that a paint- soaked brush " as hard as iron " can be made as soft and pliable as new by simply soaking for an hour or so in the mixture. To Remove Enamel and Tin Solder. — Pour enough of oil of vitriol (concen- trated sulphuric acid) over powdered fluorspar in an earthen or lead vessel, so as just to cover the parts whereby hydro- fluoric acid is generated. For use, dip the article suspended on a wire into the liquid until the enamel or the tin is eaten away or dissolved, which does not injure the articles in any way. If heated, the liquid acts more rapidly. The work should always be conducted in the open air, and care should be taken not to in- hale the fumes, which are highly inju- rious to the health, and not to get any liquid on the skin, as hydrofluoric acid is one of the most dangerous poisons. Hydrofluoric acid must be kept in earth- en or leaden vessels, as it destroys glass. Removing Paint and Vamish from Wood. — The following compound is given as one which will clean paint or varnish from wood or stone without in- juring the material: Flour or wood pulp. . 385 parts Hydrochloric acid. . . 450 parts Bleaching powder. . . 1 60" parts Turpentine 5 parts This jnixture is applied to the surface and left on for some time. It is then brushed off, and brings the paint away with it. It keeps moist quite long enough, to b6 easily removed after it has acted. Paste for Removing Old Paint or Varnish Coats. — I. — Sodium hydrate 5 parts Soluble soda glass ... 3 parts Flour paste 6 parts Water 4 parts II.— Soap. 10 parts Potassium hydrate. . . 7 parts Potassium silicate 2 parts CLEANING PREPARATIONS AND METHODS 189 To Remove Old Enamel. — Lay the articles horizontally in a vessel contain- ing a concentrated solution of alum and boil them. The solution should be just sufficient to cover the pieces. In 20 or 25 minutes the old enamel will fall into dust, and the article can be polished with emery. If narrow and deep vessels are used the operation will require more time. INK ERADICATORS: Two-Solution Ink Remover. — I. — (a) Citric acid 1 part Concentrated solu- tion of borax ... 2 parts Distilled water. ... 16 parts Dissolve the acid in the water, add the borax solution, and mix by agitation. (6) Chlorideof lime. . . 3 parts Water 16 parts Concentrated bor- ax solution 2 parts Add the chloride of lime to the water, shake well and set aside for a week, then decant the clear liquid and to it add the borax solution. For use, saturate the spot with solu- tion (a), apply a blotter to take off the ex- cess of liquid, then apply solution (6). When the stain has disappeared, apply the blotter and wet the spot with clean water; finally dry between two sheets of blotting paper. II. — (a) Mix, in equal parts, potassium chloride, potassium hypochlorite, and oil of peppermint. (6) Sodium chloride, hydrocnloric acid and water, in equal parts. Wet the sDot with (a), let dry, then brush it overlightly with (6), and rinse in clear water. A good single mixture which will an- swer for most inks is made by mixing citric acid and alum in equal parts. If desired to vend in a liquid form add an equal part of water. In use, the powder is spread well over the spot and (if on cloth or woven fabrics) well rubbed in with the fingers. A few drops of water are then added, and also rubbed in. A final rinsing with water completes the process. Ink Erasers. — I. — Inks made with nut- galls and copperas can be removed by using a moderately concentrated solu- tion of oxalic acid, followed by use of pure water and frequent drying with clean blotting paper. Most other black inks are erased by use of a weak solution of chlorinated lime, followed by dilute acetic acid and water, with frequent dry- ing with blotters. Malachite green ink is bleached by ammonia water; silver inks by potassium cyanide or sodium hyposulphite. Some aniline colors are easily removed by alcohol, and nearly all by chlorinated lime, followed by diluted acetic acid or vinegar. In all cases apply the substances with camel's-hair brushes or feathers, and allow them to remain no longer than necessary, after which rinse well with water and dry with blotting paper. II. — Citric acid 1 part Water, distilled 10 parts Concentrated solution of borax 2 parts Dissolve the citric acid in the water and add the borax. Apply to the paper with a delicate camel's-hair pencil, re- moving any excess of water with a blot- ter. A mixture of oxalic, citric, and tar- taric acids, in equal parts, dissolved in just enough water to give a clean solution, acts energetically on most inks. Erasing Powder or Pounce. — Alum, 1 part; amber, 1 part; sulphur, 1 part; saltpeter, 1 part. Mix well together and- keep in a glass bottle. If a little of this powder is placed on an ink spot or fresh writing, rubbing very lightly with a clean linen rag, the spot or the writing will disappear at once. Removing Ink Stains. — I. — The ma- terial requiring treatment should first be soaked in clean, warm water, the super- fluous moisture removed, and the fabric spread over a clean cloth. Now allow a few minims of liquor ammonise fortis, specific gravity 0.891, to drop on the ink spot, then saturate a tiny tuft of absorbent cotton-wool with acidum phosphoricum dilutum, B. P., and apply repeatedly .and with firm pressure over the stain; repeat the procedure two or three times, and finally rinse well in warm water, after- wards drying in the sun, when every trace of ink will have vanished. This method is efjually reliable for old and fresh ink stains, is rapid in action, and will not injure the most delicate fabric. II. — To remove ink spots the fabric is soaked in warm water, then it is squeezed out and spread upon a clean piece of linen. Now apply a few drops of liquid ammonia of a specific gravity of 0.891 to the spot, and dab it next with a wad of cotton which has been saturated with dilute phosphoric acid. After repeating the process several times and drying the piece in the sun, the ink spot will have disappeared without leav- ing the slightest trace. 190 CLEANING PREPARATIONS AND METHODS III. — Ink spots may be removed by the following mixture: Oxalic acid 10 parts Stannic chloride .... 2 parts Acetic acid 5 parts Water to make 500 parts Mix. IV. — The customary method of cleans- ing ink spots is to use oxalic acid. Thick blotting paper is soaked in a concen- trated solution and dried. It is then laid immediately on the blot, and in many instances will take the latter out without leaving a trace behind. In more stub- born cases the cloth is dipped in boiling water and rubbed with crystals of oxalic acid, after which it is soaked in a weak solution of chloride of lime — say 1 ounce to a quart of water. Under such circum- stances the linen should be thoroughly rinsed in several waters afterwards. Oxalic acid is undesirable for certain fabrics because it removes the color. V. — Here is a more harmless method: Equal parts of cream of tartar and citric acid, powdered fine, and mixed together. This forms the " salts of lemon " sold by druggists. Procure a hot dinner plate, lay the part stained in the plate, and moisten with hot water; next rub in the above powder with the bowl of a spoon until the stains disappear; then rinse in clean water and dry. To Remove Red (Aniline) Ink. — Stains of red anilines, except eosine, are at once removed by moistening with alcohol of 94 per cent, acidulated with acetic acid. Eosine does not disappear so easily. The amount of acetic acid to be used is ascertained by adding it, drop by drop, to the alcohol, testing the mixture from time to time, until when dropped on the Stain, the latter at once disappears. CLEANING OF WALLS, CEILINGS, AND WALL PAPER: See also Household Formulas. To Renovate Brick Walls. — Dissolve glue in water in the proportion of 1 ounce of glue to every gallon of water; add, while hot, a piece of alum the size of a hen's egg, J pound Venetian red, and 1 pound Spanisn brown. Add more water if too dark; more red and brown if too light. Cleaning Painted Doors, Walls, etc. — The following recipe is designed for painted objects that are mucn soiled. Simmer gently on the fire, stirring con- stantly, 30 parts, by weight, of pulverized borax, and 450 parts of brown soap of good quality, cut in small pieces, in 3,000 parts of water. The licjuid is applied by means of flannel and rinsed oft at once with pure water. To Remove Aniline Stains from Ceil- ings, etc. — In renewing ceilings, the old aniline color stains are often very annoy- ing, as they penetrate the new coating. Painting over with shellac or oil paint will bring relief, but other drawbacks appear. A very practical remedy is to place a tin vessel on the floor of the room, and to burn a quantity of sulphur in it after the doors and windows of the room have been closed. The sulphur vapors destroy the aniline stains, which disap- pear entirely. Old Ceilings. — In dealing with old ceilings the distemper must be washed off down to the plaster face, all cracks raked out and stopped with putty (plas- ter of Paris and distemper mixed), and the whole rubbed smooth with pumice stone and water; stained parts should be painted with oil color, and the whole distempered. If old ceilings are in bad condition it is desirable that they should be lined with paper, which should have a coat of weak size before being distem- pered. Oil Stains on Wall Paper. — Make a medium thick paste of pipe clay and water, applying it carefully flat upon the oil stain, but avoiding all friction. The paste is allowed to remain 10 to 12 hours, after which time it is very carefully re- moved with a soft rag. In many cases a repeated action will be necessary until the purpose desired is fully reached. Finally, however, this will be obtained without blurring or destroying the de- sign of the wall paper, unless it be of the cheapest variety. In the case of a light, delicate paper, the paste should be com- posed of magnesia and benzine. To Clean Painted Walls. — A simple method is to put a little aqua ammonia in moderately warm water, dampen a flannel with it, and gtntly wipe over the painted surface. No scrubbing is nec- essary. Treatment of Whitewashed Walls. — It is suggested that whitewashed walls which it is desired to paper, with a view to preventing peeling, should be treated with water, after which the scraper should be vigorously used. If the white- wash has been thoroughly soaked it can easily be removed with the scraper. Care should be taken that every part of the wall is well scraped. CLEANING PREPARATIONS AND METHODS 191 Cleaning Wall Paper. — I. — To clean wall paper the dust should first be re- moved by lightly brushing, preferably with a feather duster, and the surface then gently rubbed with slices of moder- ately stale bread, the discolored surface of the bread being removed from time to time, so as to expose a fresh portion for use. Care should be taken to avoid scratchins; the paper with the crust of the bread, and the rubbing should be in one direction, the surface being systematically gone over, as in painting, to avoid the production of streaks. II. — Mix 4 ounces of powdered pumice with 1 quart of flour, and with the aid of water make a stiff dough. Form the dough into rolls 2 inches in diameter and 6 inches long; sew each roll separately in a cotton cloth, then boil for 40 or 50 minutes, so as to render the mass firm. Allow to stand for several hours, remove the crust, and they are ready for use. III. — Bread will clean paper; but un- less it is properly used the job will be a very tedious one. Select a " tin " loaf at least two days old. Cut off the crust at one end, and rub down the paper, com- mencing at the top. Do not rub the bread backwards and forwards, but in single strokes. When the end gets dirty take a very sharp knife and pare off a thin layer; then proceed as before. It is well to make sure that the walls are quite dry before using the bread, or it may smear the pattern. If the room is furnished it will, of course, be necessary to place cloths around the room to catch the crumbs. IV. — A preparation for cleansing wall paper that often proves much more effec- tual than ordinary bread, especially when the paper is very dirty, is made by mix- ing I dough and J plaster of Paris. This should be made a day before it is needed for use, and should be very gently baked. If there are any grease spots they should be removed by holding a hot flatiron against a piece of blotting paper placed over them. If this fails, a little fuller's earth or pipe clay should be made into a paste with water, and this should then be carefully plastered over the grease spots and allowed to remain till quite dry, when it will be found to have absorbed the grease. V. — Mix together 1 pound each of rye flour and white flour into a dough, which is partially cooked and the crust removed. To this 1 ounce common salt and J ounce of powdered naph- thaline are added, and finally 1 ounce of corn meal, and J ounce of burnt umber. The composition is formed into a mass, of the proper size to be grasped in the hand, and in use it should be drawn in one direction over the surface to be cleaned. VI. — Procure a soft, flat sponge, being careful that there are no hard or gritty places in it, then get a bucket of new, clean, dry, wheat bran. Hold the sponge flat side up, and put a handful of bran on it, then quickly turn against the wall, and rub the wall gently and care- fully with it; then repeat the operation. Hold a large pan or spread down a drip cloth to catch the bran as it falls, but never use the same bran twice. Still another way is to use Canton flannel in strips a foot wide and about 3 yards Ion". Roll a strip around a stick 1 inch thick and 10 inches long, so as to have the ends of the stick covered, with the nap of the cloth outside. As the cloth gets soiled, unroll the soiled part and roll it up with the soiled face inside. In this way one can change places on the cloth when soiled and use the whole face of the cloth. To take out a grease spot requires care. First, take several thicknesses of brown wrapping paper and make a pad, place it against the grease spot, and hold a hot flatiron against it to draw out the grease, which will soak into the brown paper. Be careful to have enough layers of brown paper to keep the iron from scorching or discoloring the wall paper. If the first application does not take out nearly all the grease, repeat with clean brown paper or a blotting pad Then take an ounce vial of washed sulphuric ether and a soft, fine, clean sponge and sponge the spot carefully until all the grease disap- pears. Do not wipe the place with the sponge and ether, but dab the sponge carefully against the place. A small quantity of ether is advised, as it is very inflammable. CLOTHES AND FABRIC CLEANERS: Soaps for Clothing and Fabrics. — When the fabric is washable and the color fast, ordinary soap and water are sufficient for removing grease and the or- dinarily attendant dirt; but special soaps are made which may possibly be more effectual. I. — Powdered borax. ... 30 parts Extract of soap bark 30 parts Ox gall (fresh) 120 parts Castile soap 450 parts First make the soap-bark extract by boiling the crushed bark in water until it has assumed a dark color, then strain the liquid into an evaporating dish, and 192 CLEANING PREPARATIONS AND METHODS by the aid of heat evaporate it to a solid extract; then powder and mix it with the borax and the ox gall. Melt the castile soap by adding a small quantity of water and warming, then add the other ingre- dients and mix well. About 100 parts of soap bark make 20 parts of extract. II. — Castile soap 2 pounds Potassium carbonate. . J pound Camphor I ounce Alcohol j ounce Ammonia water J ounce Hot water, J pint, or sufficient. Dissolve the potassium carbonate in the water, add the soap previously re- duced to thin shavings, keep warm over a water bath, stirring occasionally, until dissolved, adding more water if neces- sary, and finally, when of a consistence to become semisolid on cooling, remove from the fire. When nearly ready to set, stir in the camphor, previously dis- solved in the alcohol and the ammonia. The soap will apparently be quite as efficacious without the camphor and ammonia. If a paste is desired, a potash soap should be used instead of the castile in the foregoing formula, and a portion or all of the water omitted. Soaps made from potash remain soft, while soda soaps harden on the evaporation of the water which they contain when first made. A liquid preparation may be obtained, of course, by the addition of sufficient water, and some more alcohol would probably improve it. Clothes-Cleanine Fluids : See also Household Formulas. I. — Borax 1 ounce Castile soap 1 ounce Sodium carbonate. . . 3 drachms Ammonia water 5 ounces Alcohol 4 ounces Acetone 4 ounces Hot water to make ... 4 pints Dissolve the borax, sodium bicarbo- nate, and soap in the hot water, mix the acetone and alcohol together, unite the two solutions, and then add the ammonia water. The addition of a couple of ounces of rose water will render it some- what fragrant. II. — A strong decoction of soap bark, preserved by the addition of alcohol, forms a good liquid cleanser for fabrics of the more delicate sort. III. — Chloroform 15 parts Ether 15 parts Alcohol 120 parts Decoction of quillaia bark of 30° ... . 4,500 parts IV. — Acetic ether 10 parts Amyl acetate 10 parts Liquid ammonia.. . . 10 parts Dilute alcohol 70 parts V. — Another good non-inflammable spot remover consists of equal parts of acetone, ammonia, and diluted alcohol. For use in large quantities carbon tetra; chloride is suggested. VI. — Castile soap 4 av. ounces Water, boiling. ... 32 fluidounces Dissolve and add: Water 1 gallon Ammonia 8 fluidounces Ether 2 fluidounces Alcohol 4 fluidounces To Remove Spots from Tracine Cloth. — It is best to use benzine, which is ap- plied by means of a cotton rag. The benzine also takes off lead-pencil marks, but does not attack India and other inks. The places treated with benzine should subsequently be rubbed with a little talcum, otherwise it would not be pos- sible to use the pen on them. Removal of Paint from Clothing. — Before paint becomes " dry " it can be removed from cloth by the liberal appli- cation of turpentine or benzine. If the spot is not large, it may be immersed in the liquid; otherwise, a thick, folded, absorbent cloth should be placed under the fabric which has been spotted, and the liquid sponged on freely enough that it may soak through, carrying the greasy matter with it. Some skill in manipu- lation is requisite to avoid simply spread- ing the stain and leaving a "ring" to show how far it has extended. When benzine is used the operator must be careful to apply it only in the absence of light or fire, on account of the extremely inflammable character of the vapor. Varnish stains, when fresh, are treated in the same way, but the action of the solvent may possibly not be so complete on account of the gum rosins present. When either paint or varnish has dried, its removal becomes more diflS- cult. In such case soaking in strong ammonia water may answer. An emul- sion, formed by shaking together 2 parts of ammonia water and 1 of spirits of tur- pentine, has been recommended. To Remove Vaseline Stains from Clothing. — Moisten the spots with a mix- ture of 1 part of aniline oil, 1 of pow- CLEANING PREPARATIONS AND METHODS 193 dered soap, and 10 of water. After allowing tne cloth to lie for 5 or 10 min- utes, wash with water. To Remove Grease Spots from Plush. — Place fresh bread rolls in the oven, break them apart as soon as they have become very hot, and rub the spots with the crumbs, continuing the work by us- ing new rolls until all traces of fat have disappeared from the fabric. Purified benzine, which does not alter even the most delicate colors, is also useful for this purpose. To Remove Iron Rust from Muslin and Linen. — Wet with lemon juice and salt and expose to the sun. If one ap- plication does not remove the spots, a second rarely fails to do so. Keroclean. — This non-inflammable cleanser removes grease spots from deli- cate fabrics without injury, cleans all kinds of jewelry and tableware by re- moving fats and tarnish, kills moths, insects, and household pests by suffo- cation and extermination, and cleans ironware by removing rust, brassware by removing grease, copperware by remov- ing verdigris. It is as clear as water and will stand any fire test. Kerosene 1 ounce Carbon tetrachloride (commercial) 3 ounces Oil of citronella 2 drachms Mix, and filter if necessary. If a strong odor of carbon bisulphide is de- tected in the carbon tetrachloride first shake with powdered charcoal and filter. To Clean Gold and Silver Lace. — 1. — Alkaline liquids sometimes used for cleaning gold lace are unsuitable, for they generally corrode or change the color of the silk. A solution of soap also interferes with certain colors, and should therefore not be employed. Alcohol is an effectual remedy for restoring the luster of gold, and it may be used with- out any danger to the silk, but where the gold is worn off, and the base metal ex- posed, it is not so successful in accom- plishing its purpose, as by removing the tarnish the base metal becomes more distinguishable from the fine sold. II. — To clean silver lace talce alabas- ter in very fine powder, lay the lace upon a cloth, and with a soft brush take up some of the powder, and rub both sides with it till it becomes bright and clean, afterwards polish with another brush until all remnants of the powder are re- moved, and it exhibits a lustrous surface. III. — Silver laces are put in curdled milk for 24 hours. A piece of Venetian soap, or any other good soap, is scraped and stirred into 2 quarts of rain water. To this a quantity of honey and fresh ox gall is added, and the whole is stirred for some time. If it becomes too thick, more water is added. This mass is al- lowed to stand for half a day, and the wet laces are painted with it. Wrap a wet cloth around the roller of a mangle, wind the laces over this, put another wet cloth op top, and press, wetting and re • peating the application several times. Next, dip the laces in a clear solution of equal parts of sugar and gum arable, pass them again through the mangle, between two clean pieces of cloth, and hang them up to dry thoroughly, attach- ing a weight to the lower end. IV. — Soak gold laces over night in cheap white wine and then proceed as with silver laces. If the gold is worn off, put 771 grains of shellac, 31 grains of dragon's blood, 31 grains of turmeric in strong alcohol and pour off the ruby-col- ored fluid. Dip a fine hair pencil in this, paint the pieces to be renewed, and hold a hot flatiron a few inches above them, so that only the laces receive the heat. V. — Silver embroideries may also be cleaned by dusting them with Vienna lime, and brushing off with a velvet brush. For gildings the stuff is dipped in a solution of gold chloride, and this is re- duced by means of hydrogen in another vessel. For silvering, one of the following two processes may be employed: (a) Paint- ing with a solution of 1 part of phos- phorus in 15 parts bisulphide of carbon and dipping in a solution of nitrate of silver; (b) dipping for 2 hours in a solu- tion of nitrate of silver, mixed with am- monia, then exposing to a current of pure hydrogen. To Remove Silver Stains from White Fabrics. — Moisten the fabric for two or three minutes with a solution of 6 parts of bromine and 500 parts of water. Then rinse in clear water. If a yellow- ish stain remains, immerse in a solution of 150 parts of sodium hyposulphite in 500 parts of water, and again rinse in clear water. Rust-Spot Remover. — Dissolve potas- sium bioxalate, 200 parts, in distilled water, 8,800 parts; add glycerine, 1,000 parts, and filter. Moisten the rust or ink spots with this solution; let the linen, etc., lie for 3 hours, rubbing the moist- ened spots frequently, and then wash well; with water. 194 CLEANING PREPARATIONS ~AND METHODS To Clean Quilts. — Quilts are cleaned ' by first washing them in lulcewarm soap- suds, then laying them in cold, soft (rain) water over night. The next day they are pressed as dry as possible and hung up; the ends, in which the moisture re- mains for a long time, must be wrung out from time to time. It is very essential to beat the drying quilts frequently with a smooth stick or board. This will have the effect of swelling up the wadding, and preventing it from felting. Furthermore, the quilts should be repeatedly turned during the drying from right to left and also from top to bottom. In this manner streaks are avoided. Removal of Peruvian-Balsam Stains. — The fabric is spread out, a piece of filter paper being placed beneath the stain, and the latter is then copiously moistened with chloroform, applied by means of a tuft of cotton wool. Rubbing is tc be avoided. Solution for Removing Nitrate of Sil- ver Spots. — Bichloride of mercury S parts Ammonium chloride. 5 parts Distilled water 40 parts Apply the mixture to the spots with a cloth, then rub. This removes, almost instantaneously, even old stains on linen, cotton, or wool. Stains on the skin thus treated become whitish yellow and soon disappear. Cleaning Tracings. — Tracing cloth can be very quickly and easily cleaned, and pencil marks removed by the use of benzine, which is applied with a cotton swab. It may be rubbed freely over the tracing without injury to lines drawn in ink, or even in water color, but the pencil marks and dirt will quickly disappear. The benzine evaporates almost immedi- ately, leaving the tracing unharmed. The surface, however, has been softened and must be rubbed down with talc, or some similar substance, before drawing any more ink lines. The glaze may be restored to tracing cloth after using the eraser by rubbing the roughened surface with a piece of hard wax from an old phonograph cylinder. The surface thus produced is superior to that of the original glaze, as it IS absolutely oil- and water-proof. Rags for Cleaning and Polishing. — Immerse flannel rags in a solution of 20 parts of dextrine and 30 parts of oxalic acid in 20 parts of logwood decoction; gently wring them out, and sift over them a mixture of finely powdered tripoli and pumice stone. Pile the moist rags one upon another, placing a layer of the pow- der between each two. Then press, sepa- rate, and dry. Cleaning Powder. — Bole 500 parts Magnesium carbo- nate 50 parts Mix and make into a paste with a small quantity of benzine or water; apply to stains made by fats or oils on the cloth- ing and when dry remove with a brush. CLEANING PAINTED AND VAR- NISHED SURFACES: Cleaning and Preserving Polished Woodwork. — Rub down all the polished work with a very weak alcoholic solu- tion of shellac (1 to 20 or even 1 to 30) and linseed oil, spread on a linen cloth. The rubbing should be firm and hard. Spots on the polished surface, made by alcohol, tinctures, water, etc., should be removed as far as possible and as soon as possible after they are made, by the use of boiled linseed oil. Afterwards they should be rubbed with the shellac and linseed oil solution on a soft linen rag. If the spots are due to acids go over them with a little dilute ammonia water. Ink spots may be removed with dilute or (if necessary) concentrated hydrochloric acid, following its use with dilute ammo- nia water. In extreme cases it may be necessary 1 3 use the scraper or sandpa- per, or botl I. Oak as a general thing is not polished, but has a matt surface which can be washed wit h water and soap. First all stains and spots should be gone over with a spcflge or a soft brush and very weak ammonia water. The carved work should be freed of dust, etc., by the use of a stiff brush, and finally washed with dilute ammonia water. When dry it should be gone over very thinly and evenly with brunoline applied with a soft pencil. If it is desired to give an especially handsome finish, after the surface is entirely dry, give it a prelim- inary coat of brunoline and follow this on the day after with a second. Bruno- line may be purchased of any dealer in paints. To make it, put 70 parts of lin- seed oil in a very capacious vessel (on account of the foam that ensues) and add to it 20 parts of powdered litharge, 20 parts of powdered minium, and 10 parts of lead acetate, also powdered. Boil until the oil is cornpletely oxidized, stir- ring constantly. When completely oxi- dized the oil is no longer red, but is of a dark brown color. When it acquires CLEANING PREPARATIONS AND METHODS 195 this color, remove from the fire, and add 160 parts of turpentine oil, and stir well. This brunoline serves splendidly for polishing furniture or other polished wood. To Clean Lacquered Ooods. — Papier- mache and lacquered goods may be cleaned perfectly by rubbing thoroughly with a paste made of wheat flour and olive oil. Apply with a bit of soft flan- nel or old linen, rubbing hard; wipe off and polish by rubbing with an old silk handkerchief. Polish for Varnished Work.— To reno- vate varnished work make a polish of 1 quart good vinegar, 2 ounces butter of antimony, 2 ounces alcohol, and 1 quart oil. Shake well before using. To Clean Paintings. — To clean an oil painting, take it out of its frame, lay a piece of cloth moistened with rain water on it, and leave it for a while to take up the dirt from the picture. Several appli- cations may be required to secure a perfect result. Then wipe the picture very gently with a tuft of cotton wool damped with absolutely pure linseed oil. Gold frames may be cleaned with a freshly cut onion; they should be wiped with a soft sponge wet with rain water a few hours after the application of the onion, and finally wiped with a soft rag. Removing and Preventing Match Marks. — The unsightly marks made on a painted surface by striking matches on it can sometimes be removed by scrub- bing with soapsuds and a stiff brush. To prevent match marks dip a bit of flannel in alboline (liquid vaseline), and with it go over the surface, rubbing it hard. A second rubbing with a dry bit of flannel completes the job. A man may " strike " a match there all day, and neither get a light nor make a mark. GLOVE CLEANERS: Powder for Cleaning Gloves. — I. — White bole or pipe clay 60 . parts Orris root (pow- dered) 30.0 parts Powdered grain soap 7.5 parts Powdered borax. . . 15 . parts Ammonium chlor- ide 2.5 parts Mix the above ingredients. Moisten the gloves with a damp cloth, rub on the powder, and brush off after drying. II. — Foiir pounds powdered pipeclay, 2 pounds powdered white soap, 1 ounce 7 lemon oil, thoroughly rubbed together. To use, make powder into a thin cream with water and rub on the gloves while on the hands. This is a cheaply pro- duced compound, and does its work ef- fectually. Soaps and Pastes for Cleaning Gloves. — I. — Soft soap 1 ounce Water 4 ounces Oil of lemon J drachm Precipitated chalk, a sufficient quantity. Dissolve the soap in the water, add the oil, and make into a stiff paste with a sufficient quantity of chalk. II. — White hard soap. ... 1 part Talcum 1 part Water 4 parts Shave the soap into ribbons, dissolve in the water by the aid of heat, and in- corporate the talcum. III. — Curd soap 1 av. ounce Water 4 fluidounces Oil of lemon ^ fluidrachm French chalk, a sufficient quantity. Shred the soap and melt it in the water by heat, add the oil of lemon, and make into a stiff paste with French chalk. IV. — White castile soap, old and dry 15 parts Water 15 parts Solution of chlorin- ated soda 16 parts Ammonia water. ... 1 part Cut or shave up the soap, add the water, and heat on the water bath to a smooth paste. Remove, let cool, and add the other ingredients and mix thor- oughly. V. — Castile soap, white, old, and dry 100 parts Water 75 parts Tincture of quillaia 10 parts Ether, sulphuric. . . 10 parts Ammonia water, FF .. 5 parts Benzine, deodorized 75 parts Melt the soap, previously finely shaved, in the water, bring to a boil and remove from the fire. Let cool down, then add the other ingredients, incor- porating them thoroughly. This should be put up in collapsible tubes or tightly closed metallic boxes. This is also use- ful for clothing. Liquid Cloth and Glove Cleaner.^ Gasoline 1 gallon Chloroform 1 ounce Carbon disulphide ... 1 ounce 196 CLEANmG PREPARATIONS AND METHODS Essential oil almond. . 5 drops Oil bergamot 1 drachm Oil cloves 5 drops Mix. To be applied with a sponge or soft cloth. STONE CLEANING: Cleaning and Polishing Marble.— I. — Marble that has become dirty by ordinary use or exposure may be cleaned by a simple bath of soap and water. If this does not remove stains, a weak solution of oxalic acid should be applied with a sponge or rag, washing (juickly and thoroughly with water to minimize injury to the surface. Rubbing well after this with chalk moistened with water will, in a measure, restore the luster. Another method of finishing is to apply a solution of white wax in turpentine (about 1 in 10), rub- bing thoroughly with a piece of flannel or soft leather. If the marble has been much exposed, so that its luster has been seriously im- paired, it may be necessary to repolish it in a more thorough manner. This may be accomplished by rubbing it first with sand, beginning with a moderately coarse-grained article and changing this twice for finer kinds, after which tripoli or pumice is used. The final polish is given by the so-called putty powder. A plate of iron is generally used in applying the coarse sand; with the fine sand a leaden plate is used; and the pumice is employed in the form of a smooth-surfaced piece of convenient size. For the final polishing coarse linen or bagging is used, wedged tightly into an iron planing tool. During all these applications water is allowed to trickle over the face of the stone. The putty powder referred to is bin- oxide of tin, obtained by treating metal- lic tin with nitric acid, which converts the metal into hydrated metastannic acid. This, when heated, becomes anhydrous. In this condition it is known as putty powder. In practice putty powder is mixed with alum, sulphur, and other substances, the mixture used being de- pendent upon the nature of the stone to he polished. According to Warwick, colored mar- ble should not be treated with soap and water, but only with the solution of bees- wax above mentioned. II. — Take 2 parts of sodium bicarbon- ate, 1 part of powdered pumice stone, and 1 part of finely pulverized chalk. Pass through a fine sieve to screen out all particles capable of scratching the marble, and add sufficient water to form a pasty mass. Rub the marble with it vigorously, and end the cleaning with soap and water. III.— Oxgall 1 part Saturated solution of sodium carbo- nate 4 parts Oil of turpentine. . 1 part Pipe clay enough to form a paste. IV. — Sodium carbonate. 2 ounces Chlorinated lime. . 1 ounce Water 14 ounces Mix well and apply the magma to the marble with a cloth, rubbing well in, and finally rubbing dry. It may be neces- sary to repeat this operation. V. — Wash the surface with a mixture of finely powdered pumice stone and vin- egar, and leave it for several hours; then brush it hard and wash it clean. When dry, rub with whiting and wash leather. VI. — Soft soap 4 parts Whiting 4 parts Sodium bicarbonate 1 part Copper sulphate. . . 2 parts Mix thoroughly and rub over the mar- ble with a piece of flannel, and leave it on for 24 hours, then wash it off with clean water, and polish the marble with a piece of flannel or an old piece of felt. VII. — A strong solution of oxalic acid eilectually takes out ink stains. In handling it the poisonous nature of this acid should not be forgotten. VIII. — Iron mold or ink spots may be taken out in the following man- ner: Take J ounce of butter of antimony and 1 ounce of oxalic acid and dissolve them in 1 pint of rain water; add enough flour to bring the mixture to a proper consistency. Lay it evenly on the stained part with a brush, and, after it has remained for a few days, wash it off and repeat the process if the stain is not wholly removed. IX. — To remove oil stains apply com- mon clay saturated with benzine. If the grease has remained in long the Eolish will be injured, but the stain will e removed. X. — The following method for remov- ing rust from iron depends upon the solu- bility of the sulphide of iron in a solution of cyanide of potassium. Clay is made into a thin paste with ammonium sul- phide, and the rust spot smeared with the mixture, care being taken that the spot is only just covered. After ten minutes this paste is washed off and re- placed by one consisting of white bole mixed with a solution of potassium cyanide (1 to 4), which is in jt§ turn CLEANING PREPARATIONS AND METHODS 197 washed off after about 2J hours. Should a reddish spot remain after washing off the first paste, a second layer may be ap- plied for about 5 minutes. XI. — Soft soap 4 ounces Whiting 4 ounces Sodium carbonate. 1 ounce Water, n sufficient quantity. Make into a thin paste, apply on the soiled surface, and wash off after 24 hours. * XII. — In a spacious tub place a tall vessel upside down. On this set the article to be cleaned so that it will not stand in the water, which would loosen the cemented parts. Into this tub pour a few inches of cold water — hot water renders marble dull — take a soft brush and a piece of Venetian soap, dip the former in the water and rub on the latter carefully, brushing off the article from top to bottom. When in this manner dust and dirt have been dissolved, wash off all soap particles by means of a water- ing pot and cold water, dab the object with a clean sponge, which absorbs the moisture, place it upon a cloth and care- fully dry with a very clean, soft cloth, rubbing gently. This treatment will restore the former gloss to the marble. XIII. — Mix and shake thoroughly in a bottle equal quantities of sulphuric acid and lemon juice. Moisten the spots and rub them lightly with a linen cloth and they will disappear. XIV. — Ink spots are treated with acid oxalate of potassium; blood stains by brushing with alabaster dust and dis- tilled water, then bleaching with chlorine solution. Alizarine ink and aniline ink spots can be moderated by laying on rags saturated with Javelle water, chlorine wa- ter, or chloride of lime paste. Old oil stains can only be effaced by placing the whole piece of marble for hours in ben- zine. Fresh oil or grease spots are oblit- erated by repeated applications of a little damp, white clay and subsequent brushing with soap water or weak soda solution. For many other spots an ap- plication of benzine and magnesia is useful. XV. — Marble slabs keep well and do not lose their fresh color if they are cleaned with hot water only, without the addition of soap, which is injurious to the color. Care must be taken that no Ii(juid dries on the marble. If spots of wine, coffee, beer, etc., have already ap- peared, they are cleaned with diluted spirit of sal ammoniac, highly diluted oxalic acid, Javelle water, ox gall, or, take a quantity of newly slaked lime, mix it with water into a paste-like consistency. apply the paste uniformly on the spot with a brush, and leave the coating alone for two to three days before it is washed off. If the spots are not removed by a single application, repeat the latter. In using Javelle water 1 or 2 drops should be carefully poured on each spot, rinsing off with water. To Remove Grease Spots from Marble. — ;If the spots are fresh, rub them over with a piece of cloth that has been dipped into pulverized china clay, repeating the operation several times, and then brush with soap and water. When the spots are old brush with distilled water and finest French plaster energetically, then bleach with chloride of lime that is put on a piece of white cloth. If the piece of marble is small enough to permit it, soak it for a few hours in refined benzine. Preparation for Cleaning Marble, Furniture, and Metals, Especially Cop- per. — This preparation is claimed to give very quickly perfect brilliancy, persisting without soiling either the hand or the articles, and without'leaving any odor oS copper. The following is the composi- tion for 100 parts of the product: Wax, 2.4 parts; oil of turpentine, 9.4 parts; acetic acid, 42 parts; citric acid, 42 parts; white soap, 42 parts. Removing Oil Stains from Marble. — < Saturate fuller's earth with a solution of equal parts of soap liniment, ammonia, and water; apply to the greasy part of the marble; keep there for some hours, pressed down with a smoothing iron sufficiently hot to warm the mass, and as it evaporates occasionally renew the solution. When wiped off dry the stain will have nearly disappeared. Some days later, when more oil works toward the surface repeat the operation. A few such treatments should suffice. Cleaning Terra Cotta.— After having carefully removed all dust, paint the terra cotta, by means of a brush, with a mix- ture of slightly gummed water and finely powdered terra cotta. Renovation of Polished and Varnished Surfaces of Wood, Stone, etc. — This is composed of the following ingredients, though the proportions may be varied: Cereal flour or wood pulp, 38 J parts; hydrochloric acid, 45 parts; chloride of lime, 16 parts; turpentine, J part. After mixing the ingredients thoroughly in order to form a homogeneous paste, the object to be treated is smeared with it and allowed to stand for some time. The paste on the surface is then removed by passing over it quickly a piece of soft 198 CLEANING PREPARATIONS AND METHODS leather or a brush, which will remove dirt, grease, and other deleterious sub- stances. By rubbing gentlv with a cloth or piece of leather a polished sur- face will be imparted to wood, and ob- jects of metal will be rendered lustrous. The addition of chloride of lime tends to keep the paste moist, thus allowing the ready removal of the paste without dam- aging the varnish or polish, while the turpentine serves as a disinfectant and renders the odor less disagreeable during the operation. The preparation is rapid in its action, and does not affect the varnished or polished surfaces of wood or marble. While energetic in its cleansing action on brass and other metallic objects, it is attended with no corrosive effect. Nitrate of Silver Spots. — To remove these spots from white marble, they should be painted with Javelle water, and after having been washed, passed over a concentrated solution of thiosul- phate of soda (hyposulphite). To Remove Oil-Paint Spots from Sandstones. — This may be done by washing the spots with pure turpentine oil, then covering the place with white argillaceous earth (pipe clay), leaving it to dry, and finally rubbing with sharp soda lye, using a brush. Caustic am- > monia also removes oil-paint spots from sandstones. RUST REMOVERS: To Remove Rust from Iron or Steel Utensils. — I. — Apply the following solution by means of a brush, after having removed any grease by rubbing with a clean, dry cloth: 100 parts of stannic chloride are dissolved in 1,000 parts of water; this solution is added to one containing 2 parts tartaric acid dissolved in 1,000 parts of water, and finally 20 cubic cen- timeters indigo solution, diluted with 2,000 parts of water, are added. After allowing the solution to act upon the stain for a few seconds, it is rubbed clean, first with a, moist cloth, then with a dry cloth; to restore the polish use is made of silver sand and jewelers' rouge. II. — When the rust is recent it is re- moved by rubbing the metal with a cork charged with oil. In this manner a per- fect polish is obtained. To take off old rust, mix ecrual parts of fine tripoli and flowers of sulphur, mingling this mixture with olive oil, so as to lOrm a paste. Rub the iron with this preparation by means of a skin. III. — The rusty piece is connected with a piece of zinc and placed in water containing a little sulphuric acid. After the articles have been in the liquid for several days or a week, the rust will have completely disappeared. The length of time will depend upon the depth to which the rust has penetrated. A little sulphuric acid may be added from time to time, but the chief point is that the zinc always ivas good electric contact with the iron. To insure this an iron wire may be firmly wound around the iron object and connected Vith the zinc. The iron is not attacked in the least, as long as the zinc is kept in good electric contact with it. When the articles are taken from the liquid they assume a dark gray or black color and are then washed and oiled. IV. — The rust on iron and steel ob- jects, especially large pieces, is readily removed by rubbing the pieces with oil of tartar, or with very fine emery and a little oil, or by putting powdered alum in strong vinegar and rubbing with this alumed vinegar. V. — Take cyanide of calcium, 25 parts; white soap, powdered, 25 parts; Spanish white, 50 parts; and water, 200 parts. Triturate all well and rub the piece with this paste. The effect will be quicker if before using this paste the rusty object has been soaked for 5 to 10 minutes in a solution of cyanide of potassium in the ratio of 1 part of cya- nide to 2 parts of water. VI. — To remove rust from polished steel cyanide of potassium is excellent. If possible, soak the instrument to be cleaned in a solution of cyanide of potas- sium in the proportion of 1 ounce of cya- nide to 4 ounces of water. Allow this to act till all loose rust is removed, and then polish with cyanide soap. The latter is made as follows: Potassium cya- nide, precipitated chalk, white castile soap. Make a saturated solution of the cyanide and add chalk sufficient to make a creamy paste. Add the soap cut in fine shavings and thoroughly incorporate in a mortar. When the mixture is stiff cease to add the soap. It should be re- membered that potassium cyanide is a virulent poison. VII. — Apply turpentine or kerosene oil, and after letting it stand over night, clean with finest emery cloth. VIII. — To free articles of iron and steel from rust and imbedded grains of sand the articles are treated with fluor- hydric acid (about 2 per cent) 1 to 2 hours, whereby the impurities but not the metal are dissolved. This is followed by a washing with lime milk, to neutralize any fluornydric acid remaining. CLEANING PREPARATIONS AND METHODS 199 To Remove Rust from Nickel. —First grease the articles well; then, after a few days, rub them with a rag charged with ammonia. If the rust spots persist, add a few drops of hydrochloric acid to the ammonia, rub and wipe off at once. Next rinse with water, dry, and polish with tripoli. Removal of Rust.— To take off the rust from small articles which glass or emery paper would bite too deeply, the ink-erasing rubber used in business offices may be employed. By beveling it, or cutting it to a point as needful, it can be introduced into the smallest cavities and windings, and a perfect cleaning be effected. To Remove Rust from Instrimients. — I. — Lay the instruments over night in a saturated solution of chloride of tin. The rust spots will disappear through reduction. Upon withdrawal from the solution the instruments are rinsed with water, placed in a hot soda-soap solution, and dried. Cleaning with absolute alco- hol and polishing chalk may also follow. n. — Make a solution • of 1 part of kerosene in 200 parts of benzine or car- bon tetrachloride, and dip the instru- ments, which have been dried by leaving them in heated air, in this, moving their parts, if movable, as in forceps and scis- sors, about under the liquid, so that it may enter all the crevices. Next lay the instruments on a plate in a dry room, so that the benzine can evaporate. Nee- dles are simply thrown in the paraffine solution, and taken out with tongs or tweezers, after which they are allowed to dry on a plate. in. — Pour olive oil on the rust spots and leave for several days; then rub with emery or tripoli, without wiping off the oil as far as possible, or always oringing it back on the spot. Afterwards remove the emery and the oil with a rag, rub again with emery soaked with vinegar, and finally with fine plumbago on a piece of chamois skin. To Preserve Steel from Rust. — To preserve steel from rust dissolve 1 part caoutchouc and 16 parts turpentine with a gentle heat, then add 8 parts boiled oil, and mix by bringing them to the heat of boiling water. Apply to the steel with a brush, the same as varnish. It can be removed agSin with a cloth soaked in turpentine. METAL CLEANING: Cleaning and Preserving Medals, Coins, and Small Iron Articles.— The coating of silver chloride may be reduced with molten potassium cyanide. Then boil the article in water, displace the water with alcohol, and dry in a drying closet. When dry brush with a soft brush and cover with " zaponlack " (any good transparent lacquer or varnish will answer). Instead of potassium cyanide alone, a mixture of that and potassium carbonate may be used. After treatment in this way, delicate objects of silver become less brittle. Another way is to put the article in molten sodium carbonate and remove the silver carbonate thus formed, by acetic acid of 50 per cent strength. This process produces the finest possible polish. The potassium-cyanide process may be used with all small iron objects. For larger ones molten potassium rhodanide is recommended. This converts the iron oxide into iron sulphide that is eas- ily washed off and leaves the surface of a fine black color. Old coins may be cleansed by first immersing them in strong nitric acid and then washing them in clean water. Wipe them dry before putting away. To Clean Old Medals. — Immerse in lemon juice until the coating of oxide has completely disappeared; 24 hours is gen- erally sufficient, but a longer time is not harmful. Steel Cleaner. — Smear the object with oil, preferably petroleum, and allow some days for penetration of the surface of the metal. Then rub vigorously with a piece of flannel or willow wood. Or, with a paste composed of olive oil, sulphur flowers, and tripoli, or of rotten stone and oil. Finally, a coating may be em- ployed, made of 10 parts of potassium cyanide and 1 part of cream of tartar; or 25 parts of potassium cyanide, with the addition of 55 parts of carbonate of lime and 20 parts of white soap. Restoring Tarnished Gold. — Sodium bicarbonate. 20 ounces Chlorinated lime. ... 1 ounce Common salt 1 ounce Water 16 ounces Mix well and apply with a soft brush. A very small quantity of the solution is sufficient, and it may be used either cold or lukewarm. Plain articles may be brightened by putting a "drop or two of the liquid upon them and lightly brushing the surface with fine tissue paper. 200 CLEANING PREPARATIONS AND METHODS Cleaning Copper. — I. — Use Armenian bole mixed into a paste with oleic acid. II. — Rotten stone 1 part Iron subcarbonate. . 3 parts Lard oil, a sufficient quantity. ni. — Iron oxide , . . . . 10 parts Pumice stone 32 parts Oleic acid, a sufficient quantity. IV. — Soap, cut fine 16 parts Precipitated chalk . . 2 parts Jewelers' rouge 1 part Cream of tartar 1 part Magnesium carbonate 1 part Water, a sufficient quantity. Dissolve the soap in the smallest quan- tity of water that will effect solution over a water bath. Add the other ingredients to the solution while still hot, stirring constantly. To Remove Hard Grease, Paint, etc., from Machinery. — To remove grease, paint, etc., from machinery add half a pound of caustic soda to 2 gallons of water and boil the parts to be cleaned in the fluid. It is possible to use it several times before its strength is exhausted. Solutions for Cleaning Metals. — I. — Water 20 parts Alum 2 parts Tripoli 2 parts Nitric acid 1 part II. — Water 40 parts Oxalic acid 2 parts Tripoli 7 parts To Cleanse Nickel. — I. — Fifty parts of rectified alcohol; 1 part of sulphuric acid; 1 part of nitric acid. Plunge the piece in the bath for 10 to 15 seconds, rinse it off in cold water, and dip it next into rectified alcohol. Dry witn a fine linen rag or with sawdust. II. — Stearine oil 1 part Ammonia water 25 parts Benzine. 50 parts Alcohol 75 parts Rub up the stearine with the ammonia, add the benzine and then the alcohol, and agitate until homogeneous. Put in wide-mouthed vessels and close care- fully. To Clean Petroleum Lamp Burners. — Dissolve in a quart of soft water an ounce or an ounce and a half of washing soda, using an old half-gallon tomato can. Into this put the burner after removing the wick, set it on the stove, and let it boil strongly for 5 or 6 minutes, then take out, rinse under the tap, and dry. Every particle of carbonaceous matter will thus be got rid of, and the burner be as clean and serviceable as new. This ought to be done at least every month, but the light would be better if it were done every 2 weeks. Gold-Ware Cleaner. — Acetic acid 2 parts Sulphuric acid 2 parts Oxalic acid 1 part Jewelers' rouge 2 parts Distilled water 200 parts Mix the acids and water and stir in the rouge, after first rubbing it up with a por- tion of the liquid. With a clean cloth, wet with this mixture, go well over the article. Rinse off with hot water and dry. Silverware Cleaner. — Make a thin paste of levigated (not precipitated) chalk and sodium hyposulphite, in equal parts, rubbed up in distilled water. Apply this paste to the surface, rubbing well with a soft brush. Rinse in clear water and dry in sawdust. Some authorities advise the cleaner to let the paste dry on the ware, and then to rub off and rinse with hot water. Silver-Coin Cleaner. — Make a bath of 10 parts of sulphuric acid and 90 parts of water, and let the coin lie in this until the crust of silver sulphide is dissolved. From 5 to 10 minutes usually suffice. Rinse in running water, then rub with a soft brush and castile soap, rinse again, dry with a soft cloth, and then carefully rub with chamois. Cleaning Silver-Plated Ware. — Into a wide-mouthed bottle provided with a good cork put the following mixture: Cream of tartar 2 parts Levigated chalk 2 parts Alum 1 part Powder the alum and rub up with the other ingredients, and cork tightly. When required for use wet sufficient of the powder and with soft linen rags rub the article, being careful not to use much pressure, as otherwise the thin layer of plating may be cut through. Rinse in hot suds, and afterwards in clear water, and dry in sawdust. When badly blackened with silver sulphide, if small, the article may be dipped for an instant in hydrochloric acid and imme- diately rinsed in running water. Larger articles may be treated as coins are — immersed for 2 or 3 minutes in a 10 per cent aqueous solution of sulphuric acid, or the surface may be rapidly wiped CLEANING PREPARATIONS AND METHODS 201 with a, swab carrying nitric acid and in- stantly rinsed in running water. Cleaning Gilt Bronze Ware. — If greasy, wash carefully in suds, or, better, dip into a hot solution of caustic potash, and then wash in suds with a soft rag, and rinse in running water. If not then clean and bright, dip into the following mixture: Nitric acid 10 parts Aluminum sulphate . . 1 part Water 40 parts Mix. Rinse in running water. Britannia Metal Cleaner. — Rub first with jewelers' rouge made into a paste with oil; wash in suds, rinse, dry, and finish with chamois or wash leather. To Remove Ink Stains on Silver. — Silver articles in domestic use, and espe- cially silver or plated inkstands, fre- quently become badly stained with ink. These stains cannot be removed by ordi- nary processes, but readily yield to a paste of chloride of lime and water. Ja- velle water may be also used. Removing Egg Stains. — A pinch of table salt taken between the thumb and finger and rubbed on the spot with the end of the finger will usually remove the darkest egg stain from silver. To Clean Silver Ornaments. — Make a strong solution of soft soap and water, and in this boil the articles for a few min- utes — five will usually be enough. Take out, pour the soap solution into a basin, and as soon as the liquid has cooled down sufficiently to be borne by the hand, with a soft brush scrub the articles with it. Rinse in boiling water and place on a porous substance (a bit of tiling, a brick, or unglazed earthenware) to dry. Fi- nally give a light rubbing with a chamois. Articles thus treated look as bright as new. Solvent for Iron Rust. — Articles at- tacked by rust may be conveniently cleaned by dipping them into a well- saturated solution of stannic chloride. The length of time of the action must be regulated according to the thickness of the rust. As a rule 12 to 24 hours will suffice, but it is essential to prevent an excess of acid in the bath, as this is liable to attack the iron itself. After the ob- jects have been removed from the bath they must be rinsed with water, and sub- sequently with ammonia, and then quickly dried. Greasing with vaseline seems to prevent new formation of rust. Objects treated in this manner are said to resemble dead silver. Professor Weber proposed a diluted alkali, and it has been found that after employing this remedy the dirt layer is loosened and the green platina reappears. Potash has been found to be an eflScaeious remedy, even in the case of statues that had apparently turned completely black. To Clean Polished Parts of Machines. — Put in a flask 1,000 parts of petroleum; add 20 parts of parafiSne, shaved fine; cork the bottle and stand aside for a couple of days, giving it an occasional shake. The mixture is now ready for use. To use, shake the bottle, pour a little of the liquid upon a woolen rag and rub evenly over the part to be cleaned; or apply with a brush. Set the article aside and, next day, rub it well with a dry, woolen rag. Every particle of rust, resinified grease, etc., will disappear provided the article has not been neglected too long. In this case a further applica- tion of the oil will be necessary. If too great pressure has not been made, or the rubbing continued too long, the residual oil finally leaves the surface protected by a delicate layer of paraffine tnat will pre- vent rusting for a long time. To Clean Articles of Nickel. — Lay them for a few seconds in alcohol con- taining 2 per cent of sulphuric acid; re- move, wash in running water, rinse in alcohol, and rub dry with a linen cloth. This process gives a brilliant polish and is especially useful with plated articles on the plating of which the usual polishing materials act very destructively. The yellowest and brownest nickeled articles are restored to pristine brilliancy by leaving them in the alcohol and acid for 16 seconds. Five seconds suffice ordi- narily. How to Renovate Bronzes. — For gilt work, first remove all grease, dirt, wax, etc., with a solution in water of potas- sium or sodium hydrate, then dry, and with a soft rag apply the following: Sodium carbonate . . 7 parts Spanish whiting 15 parts Alcohol, 85 per cent 50 parts Water 125 parts Go over every part carefully, using a brush to get into the minute crevices. When this dries on, brush off with a fine linen cloth or a supple chamois skin. Or the following plan may be used: Remove grease, etc., as directed above, dry and go over the spots where the gilt surface is discolored with a brush dipped in a solution of two parts of alum in 250 parts of water and 65 parts of nitric acid. As soon as the gilding reappears or the 202 CLEANING PREPARATIONS AND METHODS surface becomes bright, wash off, and dry in the direct sunlight. Still another cleaner is made of nitric acid, 30 parts; aluminum sulphate, 4 parts; distilled or rain water, 125 parts. Clean of grease, etc., as above, and apply the solution with a camel's-hair pencil. Rinse off and dry in sawdust. Finally, some articles are best cleaned by im- mersing in hot soap suds and rubbing with a soft brush. Rinse in clear, hot water, using a soft brush to get the resid ual suds out of crevices. Let dry, then finish by rubbing the gilt spots or places with a soft, linen rag, or a bit of chamois. There are some bronzes gilt with imi- tation gold and varnished. Where the work is well done and the gilding has not been on too long, they will deceive even the practiced eye. The deception, how- ever, may easily be detected by touching a spot on the gilt surface with a glass rod dipped in a solution of corrosive subli- mate. If the gilding is true no discolor- ation will occur, but if false a brown spot will be produced. To Clean a Gas Stove. — An easy meth- od of removing grease spots consists in immersing the separable parts for sev- eral hours in a warm lye, heated to about 70° C. (158° F.), said lye to be made of 9 parts of caustic soda and 180 parts of water. These pieces, together with the fixed parts of the stove, may be well brushed with this lye and afterwards rinsed in clean, warm water. The grease will be dissolved, and the stove restored almost to its original state. Cleaning Copper Sinks. — Make rot- ten stone into a stiff paste with soft soap and water. Rub on with a woolen rag, and polish with dry whiting and rotten stone. Finish with a leather and dry whiting. Many of the substances and mixtures used to clean brass will effec- tively clean copper. Oxalic acid is said to be the best medium for cleaning cop- per, but after using it the surface of the copper must be well washed, dried, and then rubbed with sweet oil and tripoli, or some other polishing agent. Otherwise the metal will soon tarnish again. Treatment of Cast-iron Grave Crosses. — The rust must first be thoroughly re- moved with a steel-wire brush. When this is done apply one or two coats of red lead or graphite paint. After this prim- ing has Decorae hard, paint with double- burnt lampblack and equal parts of oil of turpentine and varnish. This coating is followed by one of lampblack -ground with coach varnish. Now paint the sin- gle portions with " mixtion " (gilding oil) and gild as usual. Such crosses look better when they are not altogether black. Ornaments may be very well treated in colors with oil paint and then varnished. The crosses treated in this manner are preserved for many years, but it is essential to use good exterior or coach varnish for varnishing, and not the so-called black varnish, which is mostly composed of asphalt or tar. Cleaning Inferior Gold Articles. — The brown film which forms on low-quality gold articles is removed by coating with fuming hydrochloric acid, whereupon they are brushed off with Vienna lime and petroleum. Finally, clean the ob- jects with benzine, rinse again in pure benzine, and dry in sawdust. To Clean Bronze. — Clean the bronze with soft soap; next wash it in plenty of water; wipe, let dry, and apply light en- caustic mixture composed of spirit of turpentine in which a small quantity of yellow wax has been dissolved. The en- caustic is spread by means of a linen or woolen wad. For gilt bronze, add 1 spoonful of alkali to 3 spoonfuls of water and rub the article with this by means of a ball of wadding. Next wipe with a clean chamois, similar to that employed in silvering. How to Clean Brass and Steel. — To clean brasses quickly and economically, rub them with vinegar and salt or with oxalic acid. Wash immediately after the rubbing, and polish with tripoli and sweet oil. Unless the acid is washed off the article will tarnish quickly. Copper kettles and saucepans, brass andirons, fenders, and candlesticks and trays are best cleaned with vinegar and salt. Cooking vessels in constant use need only to be well washed afterwards. Things for show — even pots and pans — need the oil polishing, which gives a deep, rich, yellow luster, good for six months. Oxalic acid and salt should be employed for furniture brasses — if it touches the wood it only improves the tone. Wipe the brasses well with a wet cloth, and polish thoroughly with oil and tripoli. Sometimes powdered rotten stone does better than tne tripoli. Rub, after using, either with a dry cloth or leather, until there is no trace of oil. The brass to be cleaned must be freed completely from grease, caked dirt, and grime. Wash with strong ammonia suds and rinse dry before beginning with the acid and salt. The best treatment for wrought steel is to wash it very clean with a stiff brush CLEANING PREPARATIONS AND METHODS 203 and ammonia soapsuds, rinse well, dry by heat, oil plentifully with sweet oil, and dust thickly with powdered quicklime. Let the lime stay on 2 days, then brush it off with a clean, very stiff brush. Polish with a softer brush, and rub with cloths until the luster comes out. By leaving the lime on, iron and steel may be kept from rust almost indefinitely. Before wetting any sort of bric-a-brac, and especially bronzes, remove all the dust possible. After dusting, wash well in strong white soapsuds and ammonia, rinse clean, polish with just a suspicion of oil and rotten stone, and rub off after- wards every trace of the oil. Never let acid touch a bronze surface, unless to eat and pit it for antique effects. Composition for Cleaning Copper, Mckel, and other Metals. — Wool grease, 46 parts, by weight; fire clay, 30 parts, by weight; paraffine, 5 parts, by weight; Canova wax, 5 parts, by weight; cocoa- nut oil, 10 parts, by weight; oil of mir- bane, 1 part, by weight. After mixing these different ingredients, which con- stitute a paste, this is molded in order to give a cylindrical form, and introduced into a case so that it can be used like a stick of cosmetic. Putz Pomade. — I. — Oxalic acid, 1 part; caput mortuum, 15 parts (or, if white pomade is desired, tripoli, 12 parts); powdered pumice stone, best grade, 20 parts; palm oil, 60 parts; petroleum or oleine, 4 parts. Perfume with mirbane oil. II. — Oxalic acid 1 part Peroxide of iron (jewelers' rouge).. 15 parts Rotten stone 20 parts Palm oil 60 parts Petrolatum 5 parts Pulverize the acid and the rotten stone and mix thoroughly with the rouge. Sift to remove all grit, then make into a paste with the oil and petrolatum. A little nitro-benzol may be added to scent the mixture. III. — Oleine 40 parts Ceresine 5 parts Tripoli ._ . 40 parts Light mineral oil (0.870) 20 parts Melt the oleine, ceresine, and min- eral oil together, and stir in the tripoli; next, grind evenly in a paint mill. To Clean Gummed Parts of Ma- chinery. — Boil about 10 to 15 parts of caustic soda or 100 parts of soda in 1,000 parts of water, immerse the parts to be cleaned in this for some time, or, better, boil them with it. Then rinse and dry. For small shops this mode of cleaning is doubtless the best. To Remove Silver Plating.— I.— Put sulphuric acid 100 parts and potassium nitrate (saltpeter) 10 parts in a vessel of stoneware or porcelain, heated on the water bath. When the silver has left the copper, rinse the objects several times. This silver stripping bath may be used several times, if it is Kept in a well-closed bottle. When it is saturated with silver, decant the liquid, boil it to dryness, then add the residue to the deposit, and melt in the crucible to obtain the metal. II. — Stripping silvered articles of the silvering may be accomplished by the fol- lowing mixture: Sulphuric acid, 60° B., 3 parts; nitric acid, 40° B., 1 part; heat the mixture to about 166° F., and im- merse the articles by means of a copper wire. In a few seconds the acid mixture will have done the work. A thorough rinsing off is, of course, necessary. To Clean Zinc Articles. — In order to clean articles of zinc, stir rye bran into a paste with boiling water, and add a hand- ful of silver sand and a little vitriol. Rub the article with this paste, rinse with water, dry, and polish with a cloth. To Remove Rust from Nickel. — Smear the rusted parts well with grease (ordi- nary animal fat will do), and allow the article to stand several days. If the rust is not thick the grease and rust may be rubbed off with a cloth dipped in am- monia. If the rust is very deep, apply a diluted solution of hydrochloric acid, taking care that the acid does not touch the metal, and the rust may be easily rubbed off. Then wash the article and polish in the usual way. Compound for Cleaning Brass. — To make a brass cleaning compound use oxalic acid, 1 ounce; rotten stone, 6 ounces; enough whale oil and spirits of turpentine of equal parts, to mix, and make a paste. To Clean Gilt Objects.— I.— Into an ordinary drinking glass pour about 20 drops of ammonia, immerse the piece to be cleaned repeatedly in this, and brush with a soft brush. Treat the article with pure water, then with alcohol, and wipe with a soft rag. II. — Boil common alum in soft, pure water, and immerse the article in the solution, or rub the spot with it, and dry with sawdust. III. — For cleaning picture frames, 204 CLEANING PREPARATIONS AND METHODS moldings, and, in fact, all kinds of gilded work, the best medium is liquor potassae, diluted with about 5 volumes of water. Dilute alcohol is also excellent. Methylated wood spirit, if the odor is not objectionable, answers admirably. To Scale Cast Iron. — To remove the scale from cast iron use a solution of 1 part vitriol and 2 parts water; after mix- ing, apply to the scale with a cloth rolled in the form of a brush, using enough to wet the surface well. After 8 or 10 hours wash off with water, when the hard, scaly surface will be completely removed. Cleaning Funnels and Measures. — Funnels and measures used for measur- ing varnishes, oils, etc., may be cleaned by soaking them in a strong solution of lye or pearlash. Another mixture for the same purpose consists of pearlash with quicklime in aqueous solution. The measures are allowed to soak in the solution for a short time, when the resin- ous matter of the paint or varnish is easily removed. A thin coating of pe- troleum lubricating oils may be removed, it is said, by the use of naphtha or petro- leum benzine. To Clean Aluminum. — I. — Aluminum articles are very hard to clean so they will have a bright, new appearance. This is especially the case with the matted or frosted pieces. To restore the pieces to brilliancy place them for some time in water that has been slightly acidulated with sulphuric acid. II. — Wash the aluminum with coal-oil, gasoline or benzine, then put it in a con- centrated solution of caustic potash, and after washing it with plenty of water, dip it in the bath composed of | nitric acid and J water. Next, subject it to a bath of concentrated nitric acid, and finally to a mixture of rum and olive oil. To render aluminum capable of being worked like pure copper, f of oil of tur- pentine and i stearic acid are used. For polishing by hand, take a solution of 30 parts of borax and 1,000 parts of water, to which a few drops of spirits of ammonia have been added. How to Clean Tarnished Silver. — I. — If the articles are only slightly tarnished, mix 3 parts of best washed and purified chalk and 1 part of white soap, adding water, till a tnin paste is formed, which should be rubbed on the silver with a dry brush, till the articles are quite bright. As a substitute, whiting, mixed with caus- tic ammonia to form a paste, may be used. This mixture is very effective, but it irritates the eyes and nose. II. — An efficacious preparation fs ob- tained by mixing beech-wood ashes, 2 parts; Venetian soap, tuj part; cooking salt, 2 parts; rain water, 8 parts. Brush the silver with this lye, using a somewhat stiff brush. III. — ^A solution of crystallized potas- sium permanganate has been recom- mended. IV. — A grayish violet film which silver- ware acquires from perspiration, can be readily removed by means of ammonia. V. — To remove spots from silver lay it for 4 hours in soapmakers' lye, then throw on fine powdered gypsum, moisten the latter with vinegar to cause it to adhere, dry near the fire, and wipe off. Next rub the spot with dry bran. This not only causes it to disappear, but gives extraor- dinary gloss to the silver. VI. — Cleaning with the usual fine powders is attended with some diflSculty and inconvenience. An excellent result is obtained without injury to the silver by employing a saturated solution of hypo- sulphite of soda, which is put on with a brush or rag. The article is then washed with plenty of water. VII. — Never use soap on silverware, as it dulls the luster, giving the article more the appearance of pewter than silver. When it wants cleaning, rub it with a piece of soft leather and prepared chalk, made into a paste with pure water, entirely free from grit. To Clean Dull Gold. —I.— Take 80 parts, by weight, of chloride of lime, and rub it up with gradual addition of water in a, porcelain mortar into a thin, even paste, which is put into a solution of 80 parts, by weight, of bicarbonate of soda, and 20 parts, by weight, of salt, in 3,000 parts, by weight, of water. Shake it, and let stand a few days before using. If the preparation is to be kept for any length of time the bottle should be placed, well corked, in the cellar. For use, lay the tarnished articles in a dish, pour the liquid, which has previously been well shaken, over them so as just to cover them, and leave them therein for a few days. II. — Bicarbonate of soda. 31 parts Chloride of lime. . . . 16.5 parts Cooking salt 15 parts Water 240 parts Grind the chloride of lime with a little water to a thin paste, in a porcelain ves- sel, and add the remaining chemicals. Wash the objects with the aid of a soft brush with the solution, rinse several times in water, ana ary in fine sawdust. CLEANING PREPARATIONS AND METHODS 205 Cleaning Bronze Objects. — Employ powdered chicory mixed with water, so as to obtain a paste, which is applied with a brush. After the brushing, rinse off and dry in the sun or near a stove. Cleaning Gilded Bronzes. — I. — Com- mence by removing the spots of grease and wax with a little potash or soda dis- solved in water. Let dry, and apply the following mixture with a rag: ' Carbonate of soda, 7 parts; whiting, 15 parts; alco- hol (85°), 50 parts; water, 125 parts. When this coating is dry pass a fine linen cloth' or a piece of supple skin over it. The hollow parts are cleaned with a brush. II. — After removing the grease spots, let dry and pass over all the damaged parts a pencil dipped in the following mixture: Alum, 2 parts; nitric acid, 65; water, 250 parts. Wheij the gilding be- comes bright, wipe, and dry in the sun or near a fire. III. — Wash in hot water containing a little soda, dry, and pass over the gilding a pencil soaked in a liquid made of 30 parts nitric acid, 4 parts of aluminum phosphate, and 125 parts of pure water. Dry in sawdust. IV. — Immerse the objects in boiling soap water, and facilitate the action of the soap by rubbing with a soft brush; put the objects in hot water, brush them carefully, and let them dry in the air; when they are quite dry rub the shining parts only with an old linen cloth or a soft leather, without touching the others. Stripping Gilt Articles. — Degilding or stripping gilt articles may be done by at- taching the object to the positive pole of a battery and immersing it in a solution composed of 1 pound of cyanide dissolved in about 1 gallon of water. Desilvering may be effected in the same manner. To Clean Tarnished Zinc. — Apply with a rag a mixture of 1 part sulphuric acid with 12 parts of water. Rinse the zinc with clear water. Cleaning Pewter Articles. — Pour hot lye of wood ashes upon the tin, throw on sand, and rub with a hard, woolen rag, hat felt, or whisk until all particles of dirt have been dissolved. To polish pewter plates it is well to have the turner make similar wooden forms fitting the plates, and to rub them clean this way. Next they are rinsed with clean water and placed on a table with a clean linen cover on which they are left to dry without being touched, otherwise spots will ap- pear. This scouring is not necessary so often if the pewter is rubbed with wheat bran after use and cleaned perfectly. New pewter is polished with a paste of whiting and brandy, rubbing the dishes with it until the mass becomes dry. To Clean Files. — Files which have be- come clogged with tin or lead are cleaned by dipping for a few seconds into concentrated nitric acid. To remove iron filings from the file cuts, a bath of blue vitriol is employed. After the files have been rinsed in water they are like- wise dipped in nitric acid. File-ridges closed up by zinc are cleaned by im- mersing the files in diluted sulphuric acid. Such as have become filled with copper or brass are also treated with nitric acid, but here the process has to be repeated several times. The files should always be rinsed in water after the treat- ment, brushed with a stiff brush, and dried in sawdust or by pouring alcohol over them, and letting it burn off on the file. Scale Pan Cleaner. — About the quick- est cleaner for brass scale pans is a solu- tion of potassium bichromate in dilute sulphuric acid, using about 1 part of chromate, in powder, to 3 parts of acid and 6 parts of water. In this imbibe a cloth wrapped around a stick (to protect the hands), and with it rub the pans. Do this at tap or hydrant, so that no time is lost in placing the pan in running water after having rubbed it with the acid solution. For pans not very badly soiled rubbing with ammonia water and rinsing is sufficient. Tarnish on Electro -Plate Goods. — This tariiish can be removed by dipping the article for from 1 to 15 minutes — that is, until the tarnish shall have been removed — in a pickle of the following composition: Rain water 2 gallons and potassium cyanide J pound. Dissolve together, and fill into a stone jug or jar, and close tightly. The article, after having been immersed, must be taken out and thoroughly rinsed in several waters, then dried with fine, clean saw- dust. Tarnish on jewelry can be speed- ily removed by this process; but if the cyanide is not completely removed it will corrode the goods. OIL-, GREASE-, PAINT-SPOT ERAD- ICATORS: Grease- and Paint-Spot Eradlcators. — I. — 'Benzol 500 parts Benzine 500 parts Soap, best white, shaved 5 parts Water, warm, sufficient. 206 CLEANING PREPARATIONS AND METHODS Dissolve the soap in the warm water, using from SO to 60 parts. Mix the ben- zol and benzine, and add the soap solu- tion, a little at a time, shaking up well after each addition. If the mixture is slow in emulsifying, add at one time from SO to 100 parts of warm water, and shake violently. Set the emulsion aside for a few days, or until it separates, then de- cant the superfluous water, and pour the residual pasty mass, after stirring it up well, into suitable boxes. II. — Soap spirit 100 parts Ammonia solution, 10 per cent 25 parts Acetic ether 15 parts III. — Extract of quillaia . 1 part Borax 1 part Ox gall, fresh 6 parts Tallow soap 15 parts Triturate the quillaia and borax to- gether, incorporate the ox gall, and, finally, add the tallow soap and mix thoroughly by kneading. The product is a plastic mass, which may be rolled into sticks or put up into boxes. Removing Oil Spots from Leather. — ■ To remove oil stains from leather, dab the spot carefully with spirits of sal am- moniac, and after allowing it to act for a while, wash with clean water. This treatment may have to be repeated a few times, taking care, however, not to injure the color of the leather. Sometimes the spot may be removed very simply by spreading the place rather thickly with butter and letting this act for a few hours. Next scrape off the butter with the point of a knife, and rinse the stain with soap and lukewarm water. To Clean Linoleum. — Rust spots and other stains can be removed from lino- leum by rubbing with st^eel chips. To Remove Putty, Grease, etc., from Plate Glass. — To remove all kinds of greasy materials from glass, and to leave the latter bright and clean, use a paste made of benzine and burnt magnesia of such consistence that when the mass is pressed between the fingers a drop of benzine will exude. With this mixture and a wad of cotton, go over the entire surface of the glass, rubbing it well. One rubbing is usually sufficient. After drying, any of the substance left in the corners, etc., is easily removed by brush- ing with a suitable brush. The same preparation is very useful for cleaning mirrors and removing grease stains from books, papers, etc. Removing Spots from Furniture.— White spots on polished tables are re- moved in the following manner: Coat the spot with oil and pour on a rag a few drops of " mixtura balsamica oleosa," which can be bought in every drug store, and rub on the spot, which will disappear immediately. To Remove Spots from Drawings, etc. — Place soapstone, fine meerschaum shavings, amianthus, or powdered mag- nesia on the spot, and, if necessary, lay on white filtering paper, saturating it with peroxide of hydrogen. Allow this to act for a few hours, and remove the application with a brush. If necessary, repeat the operation. In this manner black coffee spots were removed from a valuable diagram without erasure by knife or rubber. WATCHMAKERS' ASB JEWELERS' CLEANING PREPARATIONS: To Clean the Tops of Clocks in Re- pairing. — Sprinkle whiting on the top. Pour good vinegar over this and rub vigorously. Rinse in clean water and dry slowly in the sun or at the fire. A good polish will be obtained. To Clean Watch Chains.— Gold or silver watch chains can be cleaned with a very excellent result, no matter whether they be matt or polished, by laying them for a few seconds in pure aqua ammonia; they are then rinsed in alcohol, and finally shaken in clean sawdust, free from sand. Imitation gold and plated chains are first cleaned in benzine, then rinsed in alcohol, and afterwards shaken in dry sawdust. Ordinary chains are first dipped in the following pickle: Pure nitric acid is mixed with concentrated sulphuric acid in the proportion of 10 parts of the former to 2 parts of the latter; a little table salt is added. The chains are boiled in this mixture, then rinsed several times in water, afterwards in alcohol, and finally dried in sawdust. Cleaning Brass Moimtings on Clock Cases, etc. — The brass mountings are first cleaned of dirt by dipping them for a short time into boiling soda lye, and next are pickled, still warm, if possible, in a mixture consisting of nitric acid, 60 parts; sulphuric acid, 40 parts; cooking salt, 1 part; and shining soot (lamp- black), i part, whereby they acquire a handsome golden-yellow coloring. The pickling mixture, however, must not be em- ployed immediately after pouring together the acids, which causes a strong genera- tion of heat, but should settle fox at least CLEANING PREPARATIONS AND METHODS 207 1 day. This makes the articles hand- somer and more uniform. After the dip- ping the objects are rinsed in plenty of clean water and dried on a hot, iron plate, and at the same time warmed for lac- cjuering. Since the pieces would be lacquered too thick and unevenly in pure gold varnish, this is diluted with alcohol, 1 part of gold varnish sufficing tor 10 parts of alcohol. Into this liquid dip the mountings previously warmed ana dry them again on the hot plarte. Gilt Zinc Clocks. — It frequently hap- pens that clocks of gilt zinc become covered with green spots. To remove such spots the following process is used: Soak a small wad of cotton in alkali and rub it on the spot. The green color will disappear at once, but the gilding being gone, a black spot will remain. Wipe off well to remove all traces of the alkali. To replace the gilding, put on, by means of liquid gum arable, a little bronze pow- der of the color of the gilding. The powdered bronze is applied dry with the aid of a brush or cotton wad. When the gilding of the clock has become black or dull from age, it may be revived by im- mersion in a bath of cyanide of potas- sium, but frequently it suffices to wash it with a soft brush in soap and water, in which a little carbonate of soda has been dissolved. Brush the piece in the lather, rinse in clean water, and dry in rather hot sav.-dust. The piece should be dried well inside and outside, as moisture will cause it to turn black. ^ To Clean Gummed Up Springs. — Dissolve caustic soda in warm water, place the spring in the solution and leave it there for about one half hour. Any oil still adhering may now easily be taken off with a hard brush; next, dry the spring with a clean cloth. In this man- ner gummed up parts of tower clocks, locks, etc., may be quickljr and thor- oughly cleaned, and oil paint may be removed from metal or wood. The lye is sharp, but free from danger, nor are the steel parts attacked by it. To Clean Soldered Watch Cases. — Gold, silver, and other metallic watch cases which in soldering have been ex- posed to heat, are laid in diluted sul- phuric acid (1 part acid to 10 to 15_parts water), to free them from oxide. Heat- ing the acid accelerates the cleaning proc- ess. The articles are then well rinsed in water and dried. Gold cases are next brushed with powdered tripoli moistened with oil, to remove the pale spots caused by the heat and boiling, and to restore the original color. After that they are cleaned with soap water and finally pol- ished with rouge. Silver cases are pol- ished after boiling, with a scratch brush dipped in beer. A Simple Way to Clean a Clock.— Take a bit of cotton the size of a hen's egg, dip it in kerosene and place it on the floor of the clock, in the corner; shut the door of the clock, and wait 3 or 4 days. The clock will be like a new one — and if you look inside you will find the cotton batting black with dust. The fumes of the oil loosen the particles of dust, and they fall, thus cleaning the clock. To Restore the Color of a Gold or Gilt Dial. — Dip the dial for a few seconds in the following mixture: Half an ounce of cyanide of potassium is dissolved in a quart of hot water, and 2 ounces of strong ammonia, mixed with J an ounce of alcohol, are added to the solution. On removal from this bath, the dial should immediately be immersed in warm water, then brushed with soap, rinsed, and dried in hot boxwood dust. Or it may simply be immersed in dilute nitric acid; but in this case any painted figures will be destroyed. A Bath for Cleaning Clocks. — In an enameled iron or terra- cotta vessel pour 2,000 parts of water, add 50 parts of scraped Marseilles soap, 80 to 100 parts of whiting, and a small cup of spirits of ammonia. To hasten the proc- ess of solution, warm, but do not allow to boil. If tlie clock is very dirty or much oxi- dized, immerse the pieces in the bath while warm, and as long as necessary. Take them out with a skimmer or strainer, and pour over them some ben- zine, letting the liquid iall into an empty vessel. This being decanted and bot- tled can be used indefinitely for rinsing. If the bath has too much alkali or is used when too hot, it may affect the polish and render it dull. This may be obviated by trying different strengths of the alkali. Pieces of blued steel are not injured by the alkali, even when pure. To Remove a Figure or Name from a Dial. — Oil of spike lavender may be employed for erasing a letter or number. Enamel powder made into a paste with water, oil, or turpentine is also used for this purpose. It should be previously levigated so as to obtain several degrees of fineness. The powder used for repol- ishing the surface, where an impression has been removed, must be extremely fine. It is applied with a piece of peg- CLEANING PREPARATIONS AND METHODS wood or ivory. The best method is to employ diamond powder. Take a little of the powder, make into a paste with fine oil, on the end of a copper polisher the surface of which has been freshly filed and slightly rounded. The marks will rapidly disappear when rubbed with this. The surface is left a little dull; it may be rendered bright by rubbing with the same powder mixed with a greater quan- tity of oil, and applied with a stick of pegwood. Watchmakers will do well to try on disused dials several degrees of fineness of the diamond powder. Cleaning Pearls. — Pearls turn yellow in the course of time by absorbing per- spiration on account of being worn in the hair, at the throat, and on the arms. There are several ways of rendering them white again. I. — The best process is said to be to put the pearls into a bag with wheat bran and to heat the bag over a coal fire, with constant motion. II. — Another method is to bring 8 parts each of well-calcined, finely pow- dered lime and wood charcoal, which has been strained through a gauze sieve, to a boil with 500 parts of pure rain water, suspend the pearls over the steam of the boiling water until they are warmed through, and then boil them in the liquid for 5 minutes, turning fre- quently. Let them cool in the liquid, take them out, and wash off well with clean water. III. — Place the pearls in a piece of fine linen, throw salt on them, and tie them up. Next rinse the tied-up pearls in lukewarm water until all tne salt has been extracted, and dry them at an ordi- nary temperature. IV. — The pearls may also be boiled about J hour in cow's milk into which a little cheese or soap has been scraped; take them out, rinse off in fresh water, and dry them with a clean, white cloth. V. — Another method is to have the pearls, strung on a silk thread or wrapped up in thin gauze, mixed in a loaf of bread of barley flour and to have the loaf baked well in an oven, but not too brown. When cool remove the pearls. yi. — Hang the pearls for a couple of minutes in hot, strong, wine vinegar or highly diluted sulphuric acid, remove, and rinse them in water. Do not leave them too long in the acid, otherwise they .will be injured by it. GLASS CLEANING: Cleaning Preparation for Glass with Metal Decorations. — Mix 1,000 parts of denaturized spirit (96 per cent) with 150 parts, by weight, of ammonia; 20 parts of acetic ether; 15 parts of ethylic ether; 200' parts of Vienna lime; 950 parts of bolus; and 550 parts of oleine. With this mixture both glass and metal can be quickly and thoroughly cleaned. It is particularly recommended for show windows ornamented with metal. Paste for Cleaning Glass. — Prepared chalk 6 pounds Powdered French chalk li pounds Phosphate calcium. . . 21 pounds Quillaia bark 2i pounds Carbonate ammonia. . 18 ounces Rose pink 6 ounces Mix the ingredients, in fine powder, and sift through muslin. Then mix with soft water to the consistency of cream, and apply to the glass by means of a soft rag or sponge; allow it to dry on, wipe off with a cloth, and polish with chamois. Cleaning Optical Lenses. — For this purpose a German contemporary rec- ommends vegetable pith. The medulla of rushes, elders, or sunflowers is cut out, the pieces are dried and pasted singly alongside of one another upon a piece of cork, whereby a brush-like apparatus is obtained, which is passed over the sur- face of the lens. For very small lenses pointed pieces of elder pith are em- ployed. To dip dirty and greasy lenses into oil of turpentine or ether and rub them with a linen rag, as has been pro- posed, seems hazardous, because the Can- ada balsam with which the lenses are cemented might dissolve. To Remove Glue from Glass. — If glue has simply dried upon the glass hot water ought to remove it. If, nowever, the spots are due to size (the gelatinous wash used by painters) when dried they become very refractory and recourse must be had to chemical means for their removal. The commonest size being a solution of gelatin, alum, and rosin dis- solved in a solution of soda and com- bined with starch, hot solutions of caus- tic soda or of potash may be used. If that fails to remove them, try diluted hydrochloric, sulphuric, or any of the stronger acids. If the spots still remain some abrasive powder (flour of emery) must be used and the glass repolished with jewelers' rouge applied by means of a chamois skin. Owing to the varied nature of sizes used the above are only suggestions. Cleaning Window Panes.— Take di- luted nitric acid about as strong as strong CLEANING PREPARATIONS AND METHODS S09 vinegar and pass it over the glass pane, leave it to act a minute and throw on pulverized whiting, but just enough to give off a hissing sound. Now rub both with the hand over the whole pane and polish with a dry rag. Rinse off with clean water and a little alcohol and polish dry and clear. Repeat the process on the other side. The nitric acid removes all impurities which have remained on the glass at the factory, and even with inferior panes a good appearance is ob- tained. To Clean Store Windows. — For clean- ing the large panes of glass of store win- dows, and also ordinary show cases, a semiliquid paste may be employed, made of calcined magnesia and purified benzine. The glass should be rubbed with a cotton rag until it is brilliant. Cleaning Lamp Globes. — Pour 2 spoon- fuls of a slightly heated solution of potash into the globe, moisten the whole surface with it, and rub the stains with a fine linen rag; rinse the globe with clean water and carefully dry it with a fine, soft cloth. To Clean Mirrors. — Rub the mirror with a ball of soft paper slightly damp- ened with methylated spirits, then with a duster on which a little whiting has been sprinkled, and finally polish with clean paper or a wash leather. This treatment will make the glass beautifully bright. To Clean Milk Glass. — To remove oil spots from milk glass panes and lamp globes, knead burnt magnesia with ben- zine to a plastic mass, which must be kept in a tight-closing bottle. A little of this substance rubbed on the spot with a linen rag will make it disappear. To Remove Oil-Paint Spots from Glass. — If the window panes have been bespattered with oil paint in painting walls, the spots are, of course, easily re- moved while wet. When they have become dry the operation is more difB- cult and alcohol and turpentine in equal parts, or spirit of sal ammoniac should be used to soften the paint. After that go over it with chalk. _ Polishing with salt will also remove paint spots. The salt grates somewhat, but it is not hard enough to cause scratches in the glass; a subsequent polishing with chalk is also advisable, as the drying of the salt might injure the glass. For scratching off soft paint spots sheet zinc must be used, as it cannot damage the glass on account of its softness. In the case of silicate paints (the so-called weather-proof coatings) the panes must be especially protected, be- cause these paints destroy the polish of the glass. Rubbing the spots with brown soap is also a good way of remov- ing the spots, but care must be taken in rinsing off tliat the window frames are not acted upon. Removing Silver Stains. — The follow- ing solution will remove silver stains from the hands, and also from woolen, linen, or cotton goods: Mercuric chloride. ... 1 part Ammonia muriate. ... 1 part Water 8 parts The compound is poisonous. MISCELLANEOUS CLEANING METH- ODS AND PROCESSES: Universal Cleaner. — Green soap 20 to 26 parts Boiling water 750 parts Liquid ammonia, caustic 30 to 40 parts Acetic ether 20 to 30 parts Mix. To Clean Playing Cards.— Slightly soiled playing cards may be made clean by rubbing them with a soft rag dipped in a solution of camphor. Very little of the latter is necessary. To Remove Vegetable Growth from Buildings. — To remove moss and lichen from stone and masonry, apply water in which 1 per cent of carbolic acid has been dissolved. After a few hours the plants can be washed off with water. Solid Cleansing Compound. — The basis of most of the solid grease eradicators is benzine and the simplest form is a, benzine jelly made by snaking 3 ounces of tincture of quillaia (soap bark) with enough benzine to make 16 fluidounces. Benzine may also be solidified by the use of a soap with addition of an excess of alkali. Formulas in which soaps are used in this way follow: I. — Cocoanut-oil soap. 2 a v. ounces Ammonia water. . . 3 fluidounces Solution of potas- sium 1 J fluidounces Water enough to make 12 fluidounces Dissolve the soap with the aid of heat in 4 fluidounces of water, add the am- monia and potassa and the remainder of the water. If the benzine is added in small por- tions, and thoroughly agitated, 2J fluid- ounces of the above will be found sufli- cient to solidify 32 fluidounces of benzine. 210 CLEANING PREPARATIONS— COFFEE II. — Castile soap, white. 3 J a v. ounces Water, boiling Si fluidounces Water of ammonia 6 fluidrachms Benzine enough to make 16 fluidounces Dissolve the soap in the wa,ter, and when cold, add the other ingredients. To Clean Oily Bottles. — Ute 2 heaped tablespoonfuls (for every quart of capac- ity) of fine sawdust or wheat bran, and shake well to cover the interior surface thoroughly; let stand a few minutes and then add about a gill of cold water. If the bottle be then rotated in a horizontal position, it will usually be found clean . after a single treatment. In the case of drying oils, especially when old, the bot- tles should be moistened inside with a little ether, and left standing a few hours before the introduction of sawdust. This method is claimed to be more rapid and convenient than the customary one of using strips of paper, soap solution, etc. Cork Cleaner. — Wash in 10 per cent solution of hydrochloric acid, then im- merse in a solution of sodium hypo- sulphite and hydrochloric acid. Finally the corks are washed with a solution of soda and pure water. Corks containing oil or fat cannot be cleaned by this method. To Clean Sponges. — Rinse well first in very weak, warm, caustic-soda lye, then with clean water, and finally leave the sponges in a solution of bromine in water until clean. They will whiten sooner if exposed to the sun in the bromine water. Then repeat the rinsings in weak lye and clean water, using the latter till all smell of bromine has disappeared. Dry quickly and in the sun if possible. CLEARING BATHS: See Photography. CLICHE METALS: See Alloys. CLOCK-DIAL LETTERING: See Watchmakers' Formulas. CLOCK-HAND COLORING: See Metals. CLOCK OIL: See Oil. CLOCK REPAIRING: See Watchmaking. CLOCKMAKERS' CLEANING PROC- ^ ESSES. See Cleaning Preparations and Meth- ods. CLOTH TO IRON, GLUEING: See Adhesives. CLOTHES CLEANERS: See Cleaning Preparations and Meth ods; also. Household Formulas. CLOTHS FOR POLISHING: See Polishes. CLOTH, WATERPROOFING: See Waterproofing. CLOTHING, CARE OF: See Household Formulas. COACH VARNISH: See Varnishes. COALS, TO EAT BURNING: See Pyrotechnics. COAL OIL: See Oil. COBALTIZING: See Plating. COCOAS: See Beverages. COCOA CORDIAL: See Wines and Liquors. COCOANUT CAKE: See Household Formulas and Recipes. COCHINEAL INSECT REMEDY: See Insecticides. COD-LIVER OIL AND ITS EMULSION: See Oil, Cod-Liver. COFFEE, SUBSTITUTES FOR. I. — ^Acorn. — From acorns deprived of their shells, husked, dried, and roasted. II. — ^Bean. — Horse beans roasted along with a little honey or sugar. III. — Beet Root. — From the yellow beet root, sliced, dried in a kiln or oven, and ground with a little coffee. IV. — ; Dandelion. — From dandelion roots, sliced, dried, roasted, and ground with a little caramel. . All the above are roasted, before grind- ing them, with a little fat or lard. Those which are larger than coffee berries are cut into small slices before being roasted. They possess none of the exhilarating properties or medicinal virtues of the genuine coffee. V. — Chicory. — This is a common adul- terant. The roasted root is prepared by cutting the full-grown root into slices, and exposing it to heat in iron cylinders, along with about IJ per cent or 2 per cent of lard, in a similar way to that adopted for coffee. When ground to powder in a mill it constitutes the chi- COFFEIi— COLD AND COUGH MIXTURES 211 cory coffee so generally employed both as a substitute for coffee and as an adulterant. The addition of 1 part of good, fresh, roasted chicory to 10 or 12 parts of coffee forms a mixture which yields a beverage of a fuller flavor, and of a deeper color than that furnished by an equal quantity of pure or unmixed coffee. In this way a less quantity of coffee may be used, but it should be re- membered that the article substituted for it does not possess in any degree the peculiar exciting, soothing, and hunger- staying properties of that valuable prod- uct. The use, however, of a larger proportion of chicory than that just named imparts to the beverage an in- sipid flavor, intermediate between that of treacle and licorice; while the con- tinual use of roasted chicory, or highly chicorized coffee, seldom fails to weaken the powers of digestion and derange the bowels. COFFEE CORDIAL: See Wines and Liquors. COFFEE EXTRACTS: See Essences and Extracts. COFFEE SYRUPS: See Syrups. COFFEE FOR THE SODA FOUN- TAIN: See Beverages. COIL SPRING: See Steel. COIN CLEANING: See Cleaning Preparations and Meth- ods. COINS, IMPRESSIONS OF: See Matrix Mass. COIN METAL: See Alloys. COLAS: See Veterinary Formulas. Cold and Cough Mixtures Cough Syrup. — The simplest form of cough syrup of good keeping q^uality is syrup of wild cherry containing am- monium chloride in the dose of 2 J grains to each teaspoonful. Most of the other compounds contain ingredients that are prone to undergo fermentation. I. — Ipecacuanha wine 1 fluidounce Spirit of anise. ... 1 fluidrachm Syrup 16 fluidounces Syrup of squill.. . . 8 fluidounces Tincture of Tolu. 4 fluidrachms Distilled water enough to make 30 fluidounces II. — Heroin 6 grains Aromatic sulphur- ic acid 1 J fluidounces Concentrated acid infusion of roses 4 fluidounces Distilled water. . . 5 fluidounces Glycerine 5 fluidounces Oxymel of squill.. 10 fluidounces III. — Glycerine 2 fluidounces . Fluid extract of wild cherry .... 4 fluidounces Oxymel 10 fluidounces Syrup 10 fluidounces Cochineal, a sufficient quantity. Benzoic-Acid Pastilles. — • Benzoic acid 105 parts Ehatany extract .... 525 parts- Tragacanth 35 parts Sugar 140 parts The materials, in the shape of pow- ders, are mixed well and sufficient fruit paste added to bring the mass up to 4,500 parts. Roll out and divide into lozenges weighing 20 grains each. Cough Balsam with Iceland Moss. — Solution of morphine acetate 12 parts Sulphuric acid, dilute 12 parts Cherry-laurel water. 12 parts Orange-flower water, triple 24 parts Syrup, simple 128 parts Glycerine 48 parts Tincture of saffron. . 8 parts Decoction of Iceland moss 112 parts Mix. Dose: One teaspoonful. Balsamic Cough Syrup. — Balsam of Peru 2 drachms Tincture of Tolu .... 4 drachms Camphorated tincture of opium 4 ounces Powdered extract lic- orice 1 ounce Syrup squill 4 ounces Syrup dextrine (glu- cose) sufficient to make 16 ounces Add the balsam of Peru to the tinc- tures, and in a mortar rub up the extract of licorice with the syrups. Mix to- gether and direct to be taken in tea- spoonful doses. Whooping-Cough Remedies. — ^The fol- lowing mixture is a spray to be used 212 COLD AND COUGH MIXTURES— CONDIMENTS in the sick room in cases of whooping cough: Thymol 1.0 Tincture of eucalyptus. 30.0 Tincture of benzoin .... 30.0 Alcohol 100.0 Water enough to make 1000.0 Mix. Pour some of the mixture on a cloth and hold to mouth so that the mix- ture is inhaled, thereby giving relief. Expectorant Mixtures.— I. — Ammon. chloride. 1 drachm Potass, chlorate.. 30 grains Paregoric 2 fluidrachms Syrup of ipecac. . . 2 fluidrachms Syrup wild cherry enough to make 2 fluidounces Dose: One teaspoonful. II. — Potass, chlorate.. 1 drachm Tincture guaiac . . 3 J drachms Tincture rhubarb. ij drachms Syrup wild cherry enough to make 3 fluidounces , Dose: One teaspoonful. Eucalyptus Bonbons for Coughs. — Eucalyptus oil 5 parts Tartaric acid 15 parts Extract of malt. ... 24 parts Cacao 100 parts Peppermint oil ... . 1.4 parts Bonbon mass 2,203 parts Mix and make into bonbons weighing 30 grains each. COLD CREAM: See Cosmetics. COLIC IN CATTLE: See Veterinary Formulas. COLLODION. Tuf pentine 5 parts Ether and alcohol. ... 10 parts Collodion 94 parts Castor oil 1 part Dissolve the turpentine in the ether and alcohol mixture (in equal parts) and filter, then add to the mixture of collo- dion and castor oil. This makes a good elastic collodioA. See also Court Plaster, Liquid. COLOGNE: See Perfumes. COLOGNE FOR HEADACHES: See Headaches. COLORS: See Dyes and Pigments. COTLORS, fusible ENAMEL: See Enameling. COLORS FOR PAINTS: See Paint. COLOR PHOTOGRAPHY: See Photography. COLORS FOR SYRUPS: See Syrups. CONCRETE: See Stone, Artificial. Condiments Chowchow.— Curry powder 4 ounces Mustard powder 6 ounces Ginger 3 ounces Turmeric 2 ounces Cayenne 2 drachms Black pepper powder. 2 drachms Coriaflder 1 drachm Allspice 1 drachm Mace 30 grains Thyme 30 grains Savory 30 grains Celery seed 2 drachms Cider vinegar 2 gallons Mix all the powders with the vinegar, and steep the mixture over a very gentle fire for 3 hours. The pickles are to be parboiled with salt, and drained, and the spiced vinegar, prepared as above, is to be poured over them while it is still warm. The chowchow keeps best in small jars, tightly covered. Essence of Extract of Soup Herbs. — Thyme, 4 ounces; winter savory, 4 ounces; sweet marjoram, 4 ounces; sweet basil, 4 ounces; grated lemon peel, 1 ounce; eschalots, 2 ounces; bruised celery seed, 1 ounce; alcohol (50 per cent), 64 ounces. Mix the vegetables, properly bruised, add the alcohol, close the container and set aside in a moderately warm place to digest for 15 days. Filter and press out. Pre- serve in 4-ounce bottles, well corked. Tomato Bouillon Extract.— Toma- toes, 1 quart; arrowroot, 2 ounces; ex- tract of beef, 1 ounce; bay leaves, 1 ounce; cloves, 2 ounces; red pepper, 4 drachms; Worcestershire sauce, quantity sufiScient to flavor. Mix. Mock Turtle Extract.— Extract of beef, 2 ounces; concentrated chicken, 2 ounces; clam juice, 8 ounces; tincture of black pepper, 1 ounce; extract of celery, 3 drachms; extract of orange peel, soluble, 1 drachm; hot water enough to make 3 quarts. CONDIMENTS 213 RELISHES: Digesti-ve Relish. — I. — Two ounces Jamaica ginger; 2 ounces black peppercorns; 1 ounce mus- tard seed; 1 ounce coriander fruit (seed); 1 ounce pimento (allspice); J ounce mace; i ounce cloves; J ounce nutmegs; J ounce chili pods; 3 drachms cardamom seeds; 4 ounces garlic; 4 ounces escha- lots; 4 pints malt vinegar. Bruise spices, garlic, etc., and boil in vinegar for 15 minutes and strain. To this add 2 J pints mushroom ketchup; 1§ pints India soy. Again simmer for 15 minutes and strain through muslin. II. — One pound soy; 50 ounces best vinegar; 4 ounces ketchup; 4 ounces gar- lic; 4 ounces eschalots; 4 ounces capsi- cum; i ounce cloves; J ounce mace; J ounce cinnamon; 1 drachm cardamom seeds. Boil well and strain. Lincolnshire Relish. — Two ounces gar- lic; 2 ounces Jamaica ginger; 3 ounces black peppercorns; J ounce cayenne pep- per; i ounce ossein; f ounce nutmeg; 2 ounces salt; 1§ pints India soy. Enough malt vinegar to make 1 gallon. Bruise spices, garlic, etc., and simmer in i a gallon of vinegar for 20 minutes, strain and add soy and suflBcient vinegar to make 1 gallon, then boil for 5 minutes. Keep in bulk as long as possible. Curry Powder. — I. — Coriander seed 6 drachms Turmeric 5 scruples Fresh ginger 4 J drachms Cumin seed 18 grains Black pepper 54 grains Poppy seed 94 grains Garlic 2 heads Cinnamon 1 scruple Cardamom 5 seeds Cloves 8 only Chillies 1 or 2 pods Grated cocoanut. ... J nut II. — Coriander seed J pound Turmeric I pound Cinnamon seed 2 ounces Cayenne i ounce Mustard 1 ounce Ground ginger 1 ounce Allspice i ounce Fenugreek seed 2 ounces TABLE SAUCES: Worcestershire Sauce. — Pimento 2 drachms Clove 1 drachm Black pepper 1 drachm Ginger 1 drachm Curry powder 1 ounce Capsicum 1 drachm Mustard 2 ounces Shallots, bruised 2 ounces Salt 2 ounces Brown sugar 8 ounces Tamarinds 4 ounces Sherry wine 1 pint Wine vinegar 2 pints The spices must be freshly bruised. The ingredients are to simmer together with the vinegar for an hour, adding more of the vinegar as it is lost by evap- oration; then add the wine, and if de- sired some caramel coloring. Set aside for a week, strain, and bottle. Table Sauce. — Brown sugar, 16 parts; tamarinds, 16 parts; onions, 4 parts; powdered ginger, 4 parts; salt, 4 parts; garlic, 2 parts; cayenne, 2 parts; soy, 2 parts; ripe apples, 64 parts; mustard powder, 2 parts; curry powder, 1 part; vinegar, quantity sufficient. Pare and core the apples, boil them in sufficient vinegar with the tamarinds and raisins uptil soft, then pulp through a fine sieve. Pound the onions and garlic in a mortar and add the pulp to that of the apples. Then add the other ingredients and vin- egar, 60 parts; heat to boiling, cool, and add sherry wine, 10 parts, and enough vinegar to make the sauce just pourable. If a sweet sauce is desired add sufficient treacle before the final boiling. Epicure's Sauce. — Eight ounces tam- arinds; 12 ounces sultana raisins; 2 ounces garlic; 4 ounces eschalots; 4 ounces horse-radish root; 2 ounces black pepper ; J ounce chili pods ; 3 ounces raw Jamaica ginger; li pounds golden syrup; 1 pound burnt sugar (caramel); 1 ounce powdered cloves; 1 pint India soy; 1 gallon malt vinegar. Bruise roots, spices, etc., and boil in vinegar foi; 15 minutes, then strain. To the strained liquor add golden syrup,-soy, and burnt sugar, then simmer for 10 minutes. Piccalilli Sauce. — One drachm chili pods; IJ ounces black peppercorns; i ounce pimento; f ounce garlic; J gal- lon malt vinegar. Bruise spices and garlic, boil in the vinegar for 10 minutes, and strain. One ounce ground Jamaica ginger; 1 ounce turmeric; 2 ounces flower of mus- tard; 2 ounces powdered natal arrowroot; 8 ounces strong acetic acid. Rub pow- ders in a mortar with acetic acid and add to above, then boil for 5 minutes, or until it thickens. FLAVORING SPICES. I. — Five ounces powdered cinnamon bark; 2J ounces powdered cloves; 2i 214 CONDIMENTS ounces powdered nutmegs; li ounces powdered caraway seeds; IJ ounces powdered coriander seeds; 1 ounce pow- dered Jamaica ginger; J ounce powdered allspice. Let all be dry and in fine pow- der. Mix and pass through a sieve. II.— Pickling Spice. — Ten pounds small Jamaica ginger; 2^ pounds black peppercorns; if pounds white pepper- corns; H pounds allspice; } pound long pepper; 1| pounds mustard seed; J pound chill pods. Cut up ginger and long pepper into small pieces, and mix all the otner ingredients intimately. One ounce to each pint of boiling vin- egar is sufficient, but it may be made stronger if desired hot. Essence of Savory Spices. ^T wo and one-half ounces black peppercorns; 1 ounce pimento; | ounce nutmeg; i ounce mace; J ounce cloves; I ounce cinnamon bark; J ounce caraway seeds; 20 grains cayenne pepper; 15 ounces spirit of wine; 5 ounces distilled water. Bruise all the spices and having mixed spirit and water, digest in mixture 14 days, shaking fre- quently, then filter. MUSTARD : The Prepared Mustards of Commerce. — The mustard, i. e., the flower or pow- dered seed, used in preparing the different condiments, is derived from three varie- ties of Brassica {Crucifera:) — Brassica alba L., Brassica nigra, and Brassica juncea. The first yields the "white" seed of commerce, which produces a mild mustard; the second the "black" seed, yielding the more pungent powder; and the latter a very pungent and oily mus- tard, much employed by Russians. The pungency of tne condiment is also af- fected by the method of preparing the paste, excessive heat destroying the sharpness completely. The pungency is further controlled and tempered, in the cold processes, by the addition of wheat or rye flour, which also has the advantage of serving as a binder of the mustard. The mustard flour is pre- pared by first decorticating the seed, then grinding to a fine powder, the ex- pression of the fixed oil from which completes the process. This oil, unlike the volatile, is of a mild, pleasant taste, and of a greenish color, which, it is said, makes it valuable in the sophistication and imitation, of "olive" oils, refined, cottonseed, or peanut oil being thus con- verted into huile vierge de Lucca, Flor- ence, or some other noted brand of olive oil. It is also extensively used for illu- minating purposes, especially in south- ern Russia. The flavors, other than that of the mustard itself, of the various prepara- tions are imparted by the judicious use of spices — cinnamon, nutmeg, cloves, pimento, etc. — aromatic herbs, such as thyme, sage, chervil, parsley, mint, marjoram, tarragon, etc., and finally chives, onions, shallots, leeks, garlic, etc. In preparing the mustards on .a large scale, the mustard flower and wheat or rye flour are mixed and ground to a smooth paste with vinegar, must (un- fermented grape juice), wine, or what- ever is used in the preparation, a mill similar to a drug or paint mill being used for the purpose. This dough immedi- ately becomes spongy, and in this condi- tion, technically called "cake," is used as the basis of the various mustards of commerce. Mustard Cakes. — In the mixture, the amount of flour used depends on the pungency of the mustard flower, and the flavor desired to be imparted to the fin- ished product. The cakes are broadly divided into the yellow and the brown. A general formula for the yellow cake is: Yellow mustard, from 20 to 30 per cent; salt, from 1 to 3 per cent; spices, from J to J of 1 per cent; wheat flour, from 8 to 12 per cent. Vinegar, must, or wine, complete the mixture. The brown cake is made with black mustard, and contains about the follow- ing proportions : Black mustard, from 20 to 30 per cent; salt, from 1 to 3 per cent; spices, from i to J of 1 per cent; wheat or rye flour, from 10 to 15 per cent. The variations are so wide, however, that it is impossible to give exact pro- portions. In the manufacture of table mustards, in fact, as in every other kind of manufacture, excellence is attained only by practice and the exercise of sound judgment and taste by the manu- facturer. Moutarde des Jesuittes. — Twelve sar- dels and 280 capers are crushed into a paste and stirred into 3 pints of boiling wine vinegar. Add 4 ounces of brown cake and 8 ounces of yellow cake and mix well. Kirschner Wine Mustard. — Reduce 30 quarts of freshly expressed grape juice to half that quantity, by boiling over a moderate fire, on a water bath. Dissolve in the boiling liquid 5 pounds of sugar, and pour the syrup through a colander containing 2 or 3 large horse-radishes cut CONDIMENTS 215 into very thin slices and laid on a coarse towel spread over the bottom and sides of the colander. To the colate add the following, all in a state of fine powder: Cardamom seeds .... 2J drachms Nutmeg 2i drachms Cloves 4i drachms "Cinnamon 1 ounce Ginger 1 ounce Brown mustard cake . 6 pounds Yellow mustard cake . 9 pounds Grind all together to a perfectly smooth paste, and strain several times through muslin. Duesseldorff Mustard. — Brown mustard cake. 10 ounces Yellow mustard cake. 48 ounces Boiling water 96 ounces Wine vinegar 64 ounces Cinnamon 5 drachms Cloves 15 drachms Sugar 64 ounces Wine, good white .... 64 ounces Mix after the general directions given above. German Table Mustard. — Laurel leaves 8 ounces Cinnamon 5 drachms Cardamom seeds.... 2 drachms Sugar 64 ounces Wine vinegar 96 ounces Brown cake 10 ounces Yellow cake 48 ounces Mix after general directions as given above. Krems Mustard, Sweet. — Yellow cake 10 pounds Brown cake 20 pounds Fresh grape juice .... 6 pints Mix and boil down to the proper con- sistency. Krems Mustard, Sour. — Brown mustard flour. 30 parts Yellow mustard flour. 10 parts Grape juice, fresh. ... 8 parts Mix and boil down to a paste and then stir in 8 parts of wine vinegar. Tarragon Mustard. — Brown mustard flour. 40 parts Yellow mustard flour. 20 parts Vinegar 6 parts Tarragon vinegar. ... 6 parts Boil the mustard in the vinegar and add the tarragon vinegar. Tarragon Mustard, Sharp.— This is prepared by adding to every 100 pounds of the above 21 ounces of white pepper, 5 ounces of pimento, and 2 J ounces of cloves, mixing thoroughly by grinding together in a mill, then put in a warm spot and let stand for 10 days or 2 weeks. Finally strain. Moutarde aux Epices. — Mustard flour, yellow. 10 pounds Mustard flour, brown. 40 pounds Tarragon 1 pound Basil, nerb 5 ounces Laurel leaves 12 drachms White pepper 3 ounces Cloves 12 drachms Mace 2 drachms Vinegar 1 gallon Mix the herbs and macerate them in the vinegar to exhaustion, then add to the mustards, and grind together. Set aside for a week or ten days, then strain through muslin. In all the foregoing formulas where the amount of salt is not specified, it is to be added according to the taste or dis- cretion of the manufacturer. Mustard Vinegar. — Celery, chopped fine. 32 parts Tarragon, the fresh herb 6 parts Cloves, coarsely pow- dered 6 parts Onions, chopped fine 6 parts Lemon peel, fresh, chopped fine 3 parts White-wine vinegar . . 575 parts White wine 515 parts Mustard seed, crushed 100 parts Mix and macerate together for a week or 10 days in a warm place, then strain off. Ravigotte Mustard. — Parsley 2 parts Chervil 2 parts Chives 2 parts Cloves 1 part Garlic 1 part Thyme 1 part Tarragon 1 part Salt 8 parts Olive oil 4 parts White- wine vinegar. . 128 parts Mustard flower, suflScient. Cut or bruise the plants and spices, and macerate them in the vinegar for 16 or 20 days. Strain the liquid through a cloth and add the salt. Rub up mustard with the olive oil in a vessel set in ice, adding a little of the spiced vinegar from time to time, until the whole is incorpo- rated and the complete mixture makes 384 parts. 216 CONDIMENTS— CONFECTIONERY CONDIMENTS, TESTS FOR ADUL- TERATED: See Foods. CONDITION POWDERS FOR CAT- TLE: See Veterinary Formulas. CONDUCTIVITY OF ALUMINUM AL- LOYS: See Alloys. Confectionery Cream Bonbons for Hoarseness. — Stir into 500 parts of cream 500 parts of white sugar. Put in a pan and cook, with continuous stirring, until it becomes brown and viscid. Now put in a bak- ing tin and smooth out, as neatly as pos- sible, to the thickness of, say, twice that of the back of a table knife and let it harden. Before it gets completely hard draw lines with a knife across the sur- face in such manner that when it is quite hard it will break along them, easily, into bits the size of a lozenge. Nut Candy Sticks.— Cook to 320° F. 8 pounds best sugar in 2 pints water, with 4 pounds glucose added. Pour out on an oiled slab and add 5 pounds al- monds, previously blanched, cut in small pieces, and dried in the drying room. Mix up well together to incorporate the nuts thoroughly with the sugar. When it has cooled enough to be handled, form into a round mass on the slab and spin out in long, thin sticks. Fig Squares. — Place 5 pounds of sugar and 5 pounds of glucose in a cop- per pan, with water enough to dissolve the sugar. Set on the fire, and when it starts to boil add 5 pounds of ground figs. Stir and cook to 240° on the ther- mometer. Set off the fire, and then add 6 pounds of fine cocoanuts; mix well and pour out on greased marble, roll smooth, and cut like caramels. Caramels. — Heat 10 pounds sugar and 8 pounds glucose in a copper kettle until dissolved. Add cream to the mixture, at intervals, until 2J quarts are used. Add 2i pounds caramel butter and 12 ounces paraffine wax to the mixture. Cook to a rather stifl' ball, add nuts, pour out between iron bars and, when cool enough, cut into strips. For the white ones flavor with vanilla, and add 2 pounds melted chocolate liquor for the chocolate caramel when nearly cooked. Candy Orange Drops. — It is compar- atively easy to make a hard candy, but to put the material into "drop" form apparently requires experience and a machine. To make the candy itself, put, say, a pint of water into a suitable pan or kettle, heat to boiling, and add gradually to it 2 pounds or more of sugar, stirring well so as to avoid the risk of burning the sugar. Continue boiling the syrup so formed until a little of it poured on a cold slab forms a mass of the required hardness. If the candy is to be of orange flavor, a little fresh oil of or- ange is added just before the mass is ready to set and the taste is improved according to the general view at least by adding, also, say, 2 drachms of citric acid dissolved in a very little water. As a coloring an infusion of safflower or tincture of turmeric is used. To make such a mass into tablets, it is necessary only to pour out on a well- greased slab, turning the edges back if inclined to run, until the candy is firm, and then scoring with a knife so that it can easily be broken into pieces when cold. To make "drops" a suitable mold is necessary. Experiment as to the sufficiency of the boiling in making candy may be saved and greater certainty of a good result se- cured by the use of a chemical thermom- eter. As the syrup is boiled and the water evaporates the temperature of the liquid rises. When it reaches 220° F., the sugar is then in a condition to vield the "thread" form; at 240° "soft ball" is formed; at 24.5°, "hard ball"; at 252°, "crack"; and at 290°, "hard crack." By simply suspending the thermometer in the liquid and observing it from time to time, one may know exactly when to end the boiling. Gum Drops. — Grind 25 pounds of Arabian or Senegal gum, place it in a copper pan or in a steam jacket kettle, and pour 3 gallons of boiling water over it; stir it up well. Now set th? pan with the gum into another pan containing boiling water and stir tne gum slowly until dissolved, then strain it through a No. 40 sieve. Cook 19 pounds of sugar with sufficient water, 2 pounds of glu- cose, and a teaspoonful of cream of tar- tar to a stiff ball, pour it over the gum, mix well, set the pan on the kettle with the hot water, and let it steam for IJ hours, taking care that the water in the kettle does not run dry; then open the door of the stove and cover the fire with ashes, and let the gum settle for nearly an hour, then remove the scum which has settled on top, flavor and run out with the fun- CONFECTIONERY 217 nel dropper into the starch impressions, and place the trays in the drymg room for 2 days, or until dry; then take the drops out of the starch, clean them off well and place them in crystal pans, one or two layers. Cook sugar and water to 34i° on the syrup gauge and pour over the drops lukewarm. Let stand in a moderately warm place over night, then drain the syrup off, and about an hour afterwards knock the gum drops out on a clean table, pick them apart, and place on trays until dry, when they are ready for sale. A Good Summer Taffy.— Place in a kettle 4 pounds of sugar, 3 pounds of glucose, and IJ pints of water; when it boils drop in a piece of butter half the size of an egg and about 2 ounces of paraffine wax. Cook to 262°, pour on a slab, and when cool enough, pull, flavor, and color if you wish. Pull until light, then spin out on the table in strips about 3 inches wide and cut into 4- or 4J-inch lengths. Then wrap in wax paper for the counter. This taffy keeps long with- out being grained by the heat. Chewing Candy. — Place 20 pounds of sugar in a copper pan, add 20 pounds of glucose, and enough water to easily dis- solve the sugar. Set on the fire or cook in the steam pan in 2 quarts of water. Have a pound of egg albumen soaked in 2 quarts of water. Beat this like eggs into a very stiff froth, add gradually the sugar and glucose; when well beaten up, add 5 pounds of powdered sugar, and beat at very little heat either in the steam beater or on a pan of boiling water until light, and does not stick to the back pf the hand, flavor with vanilla, and put in trays dusted with fine sugar. When cold it may be cut, or else it may be stretched out on a sugar-dusted table, cut, and wrapped in wax paper. This chewing candy has to be kept in a very dry place, or else it will run and get sticky. Montpelier Cough Drops. — Brown sugar 10 pounds Tartaric acid 2 ounces Cream of tartar Jounce Water ij quarts Anise-seed flavoring, quantity sufficient. Melt the sugar in the water, and when at a sharp boil add the cream of tartar. Cover the pan for 5 minutes. Remove the lid and let the sugar boil up to crack degree. Turn out the batch on an oiled slab, and when cool enough to handle mold in the acid and flavoring. Pass it through the acid drop rollers, and when the drops are chipped up, and before sifting, rub some icing with them. Medicated Cough Drops.— Light-brown sugar. . . 14 pounds Tartaric acid 1 J ounces Cream of tartar | ounce Water 2 quarts Anise-seed, cayenne, clove, and pepper- mint flavoring, a few drops of each. Proceed as before prescribed, but when sufficiently cool pass the batch through the acid tablet rollers and dust with sugar. Horehound Candy. — Dutch crushed sugar. 10 pounds Dried horehound leaves 2 ounces Cream of tartar | ounce Water 2 quarts Anise-seed flavoring, quantity sufficient. Pour the water on the leaves and let it gently simmer till reduced to 3 pints; then strain the infusion through muslin, and add the liquid to the sugar. Put the pan containing the syrup on the fire, and when at a sharp bou add the cream of tartar. Put the lid on the pan for 5 min- utes; then remove it, and let the sugar boil to stiff boil degree. Take the pan off the fire and rub portions of the sugar against the side until it produces a creamy appearance; then add the flavor- ing. Stir all well, and pour into square tin frames, previously well oiled. Menthol Cough Drops. — Gelatin 1 ounce Glycerine (by weight) 2J ounces Orange-flower water. . 2 j ounces Menthol 5 grains Rectified spirits 1 draclim Soak the gelatin in the water for 2 hours, then heat on a water bath until dissolved, and add 1 J ounces of glycerine. Dissolve the menthol in the spirit, mix with the remainder of the glycerine, add to the glyco-gelatin mass, and pour into an oiled tin tray (such as the lid of a bis- cuit box). When the mass is cold divide into 10 dozen pastilles. Menthol pastilles are said to be an excellent remedy for tickling cough as well as laryngitis. They should be freshly prepared, and cut oblong, so that the patient may take half of one, or less, as may be necessary. Violet Flavor for Candy. — Violet fla- vors, like violet perfumes, are very com- plex mixtures, and their imitation is a 218 CONFECTIONERY correspondingly difficult undertaking. The basis is vanilla (or vanillin), rose, and orris, with a very little of some pun- gent oil to bring up the flavor. The fol- lowing will give a basis upon which a satisfactory flavor may ce built: Oil of orris 1 drachm Oil of rose 1 drachm Vanillin 2 drachms Cumarin 30 grains Oil of clove 30 minims Alcohol 11 ounces Water 5 ounces Make a solution, adding the water last. CONFECTIONERY COLORS. — The following are excellent and entirely harmless coloring agents for the pur- poses named: Red. — Cochineal syrup prepared as follows : Cochineal, in coarse powder 6 parts Potassium carbonate 2 parts Distilled water I'S parts , Alcohol 12 parts Simple syrup enough to make 500 parts Rub up the potassium carbonate and the cochineal together, adding the water and alcohol, little by little, under constant trituration. Set aside over night, then add the syrup and lilter. Pink.— Carmine 1 part Liquor potassse 6 parts Rose water, enough to make 48 parts Mix. Should the color be too high, dilute with water until the requisite tint is acquired. Orange. — Tincture of red sandalwood, 1 part; ethereal tincture of orlean, quan- tity sufficient. Add the tincture of or- lean to the sandalwood tincture until the desired shade of orange is obtained. A red added to any of the yellows gives an orange color. The aniline colors made by the "Ak- tiengesellschaft fiir Anilin - Pabrika- tion," of Berlin, are absolutely non-toxic, and can be used for the purposes recom- mended, i. e., the coloration of syrups, cakes, candies, etc., with perfect confi- dence in their innocuity. Pastille Yellow.— Citron yellow II 7 parts Grape sugar, first quality 1 part White dextrine 2 parts Sap -Blue Paste. — Dark blue 3 parts Grape sugar 1 part Water 6 parts Sugar-Black Paste. — Carbon black 3 parts Grape sugar 1 part Water 6 parts Cinnabar Red.*— Scarlet 65 parts White dextrine 30 parts Potato flour 5 parts Bluish Rose.*— Grenadine 65 parts White dextrine 30 parts Potato flour 5 parts Yellowish Rose. — Rosa II 60 parts Citron yellow 5 parts White dextrine 30 parts Potato flour 5 parts Violet.— Red violet 65 parts White dextrine 30 parts Potato flour 5 parts Carmine Green. — Woodruff (Waldmeis- ter) green 55 parts Rosa II 5 parts Dextrine 35 parts Potato flour 5 parts To the colors marked with an asterisk (*) add, for every 4 pounds, 4J ounces, a grain and a half each of potassium iodide and sodium nitrate. Colors given in form of powders should be dissolved in hot water for use. Yellow. ^ — ^Various shades of yellow may be obtained by the maceration of Besiello saffron, or turmeric, or grains d' Avignon in alcohol until a strong tinc- ture is obtained. Dilute with water until the desired shade is obtained. An aqueous solution of quercitrine also gives au excellent yellow. Blue.— Indigo carmine 1 part Water 2 parts Mix. Indigo carmine is a beautiful, power- ful, and harmless agent. It may usually be bought commercially, but if it can- not be readily obtained, proceed as fol- lows: Into a capsule put 30 grains of indigo in powder, place on a water bath, and heat to dryness. When entirely dry put CONFECTIONERY— COPPER 219 into a large porcelain mortar (the sub- stance swells enormously under subse- quent treatment — hence the necessity for a large, or comparatively large, mor- tar) and cautiously add, drop by drop, 120 grains, by weight, of sulpnuric acid, C. P., stirring continuously during the addition. Cover the swollen mass close- ly, and set aside for 24 hours. Now add 3 fluidounces of distilled water, a few drops at a time, rubbing or stirring continuously. Transfer the liquid thus obtained to a tall, narrow, glass cylinder or beaker, cover and let stand for 4 days, fiving the liquid an occasional stirring, lake a strong solution of sodium car- bonate or bicarbonate, and at the end of the time named cautiously neutralize the liquid, adding the carbonate a little at a time, stirring the indigo solution and testing it after each addition, as the least excess of alkali will cause the indigo to separate out, and fall in a doughy mass. Stop when the test shows the near ap- proach of neutrality, as the slight re- maining acidity will not aflect the taste or the properties of the liquid. Filter, and evaporate in the water bath to dry- ness. The resultant matter is sulphin- digotate of potassium, or the "indigo carmine" of commerce. Tincture of indigo may also be used as a harmless blue. Green. — The addition of the solution indigo carmine to an infusion of any of the matters given under "yellow" will pro- duce a green color. Tincture of crocus and glycerine in equal parts, with the addition of indigo-carmine solution, also gives a fine green. A solution of com- mercial chlorophyll gives grass-green, in shades varying according to the concen- tration of the solution. Voice and Throat Lozenges. — Catechu 191 grains Tannic acid 273 grains Tartaric acid 273 grains Capsicin 30 minims Black-currant paste . 7 ounces Refined sugar. Mucilage of acacia, of each a sufficient quantity. Mix to produce 7 pounds of lozenges. CONSTIPATION IN BIRDS: See Veterinary Formulas. COOKING TABLE: See Tables. COOLING SCREEN: See Refrigeration. Copper Annealing Copper. — ■ Copper is almost universally annealed in muffles, in which it is raised to the desired temperature, and subsequently allowed to cool either in the air or in water. A muffle is nothing more or less than a reverberatory furnrce. It is necessary to watch the copper carefully, so that when it has reached the right temperature it may be drawn from the muffle and allowed to cool. This is important, for if the copper is heated too high, or is left in the muffle at the ordi- nary temperature of annealing too long, it is burnt, as the workmen say. Copper that has been burnt is yellow, coarsely granular, and exceedingly brittle — even more brittle at a red neat than when cold. In the case of coarse wire it is found that only the surface is burnt, while the interior is damaged less. This causes the exterior to split loose from the in- terior when bent or rolled, thus giving the appearance of a brittle copper tube with a copper wire snugly fitted into it. Cracks a half inch in depth have been observed on the surface of an ingot on its first pass through the rolls, all due to this exterior burning. It is apparent that copper that has been thus over- heated in the muffle is entirely unfit for rolling. It is found that the purer forms of copper are less liable to be harmed by overheating than samples containing even a small amount of impurities. Even the ordinary heating in a muffle will often suffice to burn in this manner the surface of some specimens of copper, rendering them unfit for further working. Copper that has been thus ruined is of use only to be refined again. As may be inferred only the highest grades of refined copper are used for drawing or for rolling. This is not be- cause the lower grades, when refined, can- not stand sufficiently high tests, but be- cause methods of working are not adequate to prevent these grades of cop- per from experiencing the deterioration due to overheating. The process of refining copper con- sists in an oxidizing action followed by a reducing action which, since it is per- formed by the aid of gases generated by stirring the melted copper with a pole, is called poling. The object of the oxida- tion is to oxidize and either volatilize or turn to slag all the impurities contained in the copper. This procedure is ma- terially aided by the fact that the sub- 220 COPPER oxide of copper is freely soluble in metallic copper and thus penetrates to all parts of the copper, and parting with its oxygen, oxidizes the impurities. The object of the reducing part of the refining process is to change the excess of the suboxide of cofjper to metallic copper. Copper containing even less than 1 per cent of the suboxide of copper shows decreased malleability and duc- tility, and is both cold-short and red- short. If the copper to be refined con- tains any impurities, such as arsenic or antimony, it is well not to remove too much of the oxygen in the refining proc- ess. If this is done, overpoled copper is produced. In this condition it is brittle, granular, of a shining yellow color, and more red-short than cold- short. When the refining has been prop- erly done, and neither too much nor too little oxygen is present, the copper is in the condition of " tough pitch, and is in a fit state to be worked. Copper is said to be " tough pitch " when it requires frequent bending to break it, and when, after it is broken, the color is pale red, the fracture has a silky lus- ter, and is fibrous like a tuft of silk. On hammering a piece to a thin plate it should show no crjicks at the edge. At tough pitch copper offers the nighest degree of malleability and ductility of which a given specimen is capable. This is the condition in which refined copper is (or should be) placed on the market, and if it could be worked with- out changing this tough pitch, any specimen of copper that could Ibe brought to this condition would be suitable for rolling or drawing. But tough pitch is changed if oxygen is either added or taken from refined copper. By far the more important of these is the removal of oxygen, especially frpm those specimens that contain more than a mere trace of impurities. This is shown by the absolutely worthless condition of overpoled copper. The addition of carbon also plays a very important part in the production of overpoled copper. That the addition of oxygen to refined copper is not so damaging is shown by the fact that at present nearly all the cop- per that is worked is considerably oxi- dized at some stage of the process, and not especially to its detriment. Burnt copper is nothing more or less than copper in the overpoled condition. This is brought about by the action of reducing gases in the muffle. By this means the small amount of oxygen nec- essary to give the copper its tough pitch is removed. This oxygen is combined with impurities in the copper, and thus renders them inert. For example, the oxide of arsenic or antimony is inca- pable of combining more than mechan- ically with the copper, but when its oxy- gen is removed the arsenic or antimony IS left free to combine with the copper. This forms a brittle alloy, and one that corresponds almost exactly in its proper- ties with overpoled copper. To be sure overpoled copper is supposed to contain carbon, but that this is not the essential ruling principle in case of annealing is shown by the fact that pure copper does not undergo this change under condi- tions that ruin impure copper, and also by the fact that the same state may be produced by annealing in pure hydro- gen and thus removing the oxygen that renders the arsenic or antimony inert. No attempt is made to deny the well- known fact that carbon does combine with copper to the extent of 0.2 per cent and cause it to become exceedingly brittle. It is simply claimed that this is probably not what occurs in the pro- duction of so-called burnt copper during annealing. The amount of impurities capable of rendering copper easily burnt is exceedingly small. This may be bet- ter appreciated when it is considered that from 0.01 to 0.2 per cent expresses the amount of oxygen necessary to ren- der the impurities inert. The removal of this very small amount of oxygen, which is often so small as to be almost within the limits of the errors of analysis, will suffice to render copper overpoled and ruin it for any use. There are methods of avoiding the numerous accidents that may occur in the annealing of copper, due to a change of pitch. As already pointed out, the quality of refined copper is lowered if oxygen be either added to or taken from it. It is quite apparent, therefore, that a really good method of annealing cop- per will prevent any change in the state of oxidation. It is necessary to prevent access to the heated copper both of at- mospheric air, which would oxidize it, and of the reducing gases used in heat- ing the muffle, which would take oxygen away from it. Obviously the only way of accomplishing this is to inclose the copper when heated and till cool in an atmosphere that can neither oxidize nor deoxidize copper. By so doing copper may be heated to the melting point and allowed to cool again without suffering, as regards its pitch. There are com- paratively few gases that can be used for this purpose, but, fortunately, one which is exceedingly cheap and universally COPPER prevalent fulfills all requirements, viz., steam. In order to apply the principles enunciated it is necessary only to anneal copper in the ordinary annealing pots sucn as are used for iron, care being taken to inclose the copper while heating and while cooling in an atmosphere of steam. This will effectually exclude air and prevent the ingress of gases used in heating the annealer. Twenty-four hours may be used in the process, as in the annealing of iron wire, with no detri- ment to the wire. This may seem in- credible to those manufacturers who have tried to anneal copper wire after the manner of annealing iron wire. By this method perfectly bright annealed wire may be produced. Such a process of annealing copper offers many advan- tages. It allows the use of a, grade of copper that has hitherto been worked only at a great disadvantage, owing to its tendency to get out of pitch. It allows the use of annealers such as are ordi- narily employed for annealing iron, and thus cheapens the annealing consider- ably as compared with the present use of muffles. There is no chance of produc- ing the overpoled condition from the action of reducing gases used in heating the muffles. There is no chance of pro- ducing the underpoled condition due to the absorption of suboxide of copper. None of the metal is lost as scale, and the saving that is thus effected amounts to a considerable percentage of the total value of the copper. The expense and time of cleaning are wholly saved. In- cidentally brignt annealed copper is produced by a process which is appli- cable to copper of any shape, size, or condition — a product that has hitherto been obtained only by processes (mostly secret) which are, too cumbersome and too expensive for extensive use; and, as is the case with at least one process, with the danger of producing the overpoled condition, often in only a small section of the wire, but thus ruining the whole piece. COPPER COLORING: Blacking Copper. — -To give a copper article a black covering, _ clean it with emery paper, heat gently in a Bunsen or a spirit flame, immerse for 10 seconds in solution of copper filings in dilute nitric acid, and heat again. Red Coloring of Copper.— A fine red color may be given to copper by gradu- ally heating it in an air bath. Prolonged heating at a comparatively low temper- ature, or rapid heating at a high tem- perature, produces the same result. As soon as the desired color is attained the metal should be rapidly cooled by quenching in water. The metal thus colored may be varnished. To Dye Copper Parts Violet and Or- ange, — Polished copper acquires an orange-like color leaning to gold, when dipped for a few seconds into a solution of crystallized copper acetate. A hand- some violet is obtained by placing the metal for a few minutes in a solution of antimony chloride and rubbing it after- wards with a piece of- wood covered with cotton. During this operation the cop- per must be heated to a degree bearable to the hand. A crystalline appearance is produced by boiling the article in copper sulphate. Pickle for Copper. — Take nitric acid, 100 parts; kitchen salt, 2 parts; calcined soot, 2 parts; or nitric acid, 10 parts; sul- phuric acid, 10 parts; hydrochloric acid, 1 part. As these bleaching baths attack the copper quickly, the objects must be left in only for a few seconds, washing them afterwards in plenty of water, and drying in sawdust, bran, or spent tan. Preparations of Copper Water. — I. — Water, 1,000 parts; oxalic acid, 30 parts; spirit of wine, 100 parts; essence of tur- pentine, 50 parts; fine tripoli, 100 parts. II. — Water, 1,000 parts; oxalic acid, 30 parts; alcohol, 50 parts; essence of turpentine, 40 parts; fine tripoli, 50 parts. III. — Sulphuric acid, 300 parts; sul- phate of alumina, 80 parts; water, 620 parts. Tempered Copper. — Objects made of copper may be satisfactorily tempered by subjecting them to a certain degree of heat for a determined period of time and ■ bestrewing them with powdered sulphur during the heating. While hot the objects are plunged into a bath of blue vitriol; after the bath they may be heated again. COPPER ALLOYS: See Alloys. COPPER CLEANING: See Cleaning Preparations and Meth- ods. COPPER ETCHING: See Etching. COPPER IN FOOD: See Food. COPPER LACQUERS: See Lacquers. 222 COPPER— COPYING PRINTED PICTURES COPPER PAPER: See Paper, Metallic. COPPER PATINIZING AND PLATING : See Plating. COPPER POLISHES: See Polishes. COPPER, SEPARATION OF GOLD FROM: See Gold. COPPER SOLDER: See Solders. COPPER VARNISHES: See Varnishes. COPYING PRINTED PICTURES. The so-called "metallic" paper used for steam-engine indicator cards has a smooth surface, chemically prepared so that black lines can be drawn upon it with pencils made of brass, copper, sil- ver, aluminum, or any of the softer metals. When used on the indicator it receives the faint line drawn by a brass point at one end of the pencil arm, and its special advantage over ordinary paper is that the metallic pencil slides over its surface with very little friction, and keeps its point much longer than a graphite pencil. This paper can be used as a transfer paper for copying engravings or sketches, or anything printed or written in ink or drawn in pencil. The best copies can be obtained by following the directions below: Lay the metallic transfer paper, face up, upon at least a dozen sheets of blank paper, and lay the print face down upon itn On the back of the print place a sheet of heavy paper, or thin cardboard, and run the rubbing tool over this protecting sheet. In tnis manner it is comparative- ly easy to prevent slipping, and prints 8 or 10 inches on a side may be copied satisfactorily. Line drawings printed from relief plates, or pictures with sharp contrast of black and white, without any half- tones, give the best copies. Very few half-tones can be transferred satisfac- torily; almost all give streaked, indis- tinct copies, and many of the results are worthless. The transfer taken off as described is a reverse of the original print. If the question of right and left is not impor- tant this reversal will seldom be objec- tionable, for it is easy to read back- ward what few letters generally occur. However, if desired, the paper may be held up to the light and examined from the back, or placed before a mirror and viewed by means of its reflected image, when the true relations of right and left will be seen. Moreover, if sufficiently important, an exact counterpart of the original may be taken from the reversed copy by laying another sheet face down- ward upon it, and rubbing on the back of the fresh sheet just as was done in making the reversed copy. The im- pression thus produced will be fainter than the first, liut almost always it can be made dark enough to show a distinct outline which may afterwards be re- touched with a lead pencil. For indicator cards the paper is pre- pared by coating one surface with a suit- able compound, usually zinc oxide mixed with a little starch and enough glue to make it adhere. After drying it is passed between calendar rolls under great pressure. The various brands manu- factured for the trade, though perhaps equally good for indicator diagrams, are not equally well suited for copying. If paper of firmer texture could be prepared with the same surface finish, probably much larger copies could be produced. Other kinds of paper, notably the heavy plate papers used for some of the best trade catalogues, possess this trans- fer property to a slight degree, though they will not receive marks from a me- tallic pencil. The latter feature would seem to recommend them for transfer purposes, making them less likely to be- come soiled by contact with metallic objects, but so far no kind has been found which will remove enough ink to give copies anywhere near as dark as the indicator paper. Fairly good transfers can be made from almost any common printers' ink, but some inks copy much better than others, and some yield only the faintest impressions. The length of time since a picture was printed does not seem to de- termine its copying quality. Some very old prints can be copied better than new ones; in fact, it was by accidental trans- fer to an indicator card from a book nearly a hundred years old that the peculiar property of this "metallic" paper was discovered. Copying Process on Wood. — If wood surfaces are exposed to direct sunlight the wood will exhibit, after 2 weeks action, a browning of dark tone in the exposed places. Certain parts of the surface being covered up during the en- tire exposure to the sun, they retain their original shade and are set off clearly and sharply against the parts browned by the sunlight. Based on this property of the COPYING PROCESSES— CORKS 223 wood is a sun-copying process on wood. The method is used for producing tarsia in imitation on wood. A pierced stencil of tin, wood, or paper is laid on a freshly planed plate of wood, pasting it on in places to avoid shifting, and put into a common copying frame. To prevent the wood from warping a stretcher is em- ployed, whereupon expose to the sun for from 8 to 14 days. After the brown shade has appeared the design obtained is partly fixed by polishing or by a coating of varnish, lacquer, or wax. B^t suited for such works are the pine woods, espe- cially the 5-year fir and the cembra pine, which, after the exposure, show a yellow- ish brown tone of handsome golden gloss, that stands out boldly, especially after subsequent polishing, and cannot be replaced by any stain or by pyrography. The design is sharper and clearer than that produced by painting. In short, the total effect is pleasing. How to Reproduce Old Prints. — Pre- pare a bath as follows: Sulphuric acid, 3 to 5 parts (according to the antiquity of print, thickness of paper, etc.); alcohol, 3 to 5 parts; water, 100 parts. In this soak the print from 5 to 15 minutes (the time depending on age, etc., as above), remove, spread face downward on a glass or ebonite plate, and wash thor- oughly in a gentle stream of running water. If the paper is heavy, reverse the sides, and let the water flow over the face of the print. Remove care- fully and place on a heavy sheet of blotting paper, cover with another, and press out every drop of water possible. Where a wringing machine is convenient and sufficiently wide, passing the blot- ters and print through the rollers is bet- ter than mere pressing with the hands. The print, still moist, is then laid face upward on a heavy glass plate (a mar- ble slab or a lithographers' stone an- swers equally well), and smoothed out. With a very soft sponge go over the sur- face with a thin coating of gum-arabic water. The print is now ready for ink- ing, which is done exactly as in litho- graphing, with a roller and printers' or lithographers' ink, cut with oil of tur- pentine. Suitable paper is then laid on and rolled with a dry roller. This gives a reverse image of the print, which is then applied to a zinc plate or a lithogra- phers' stone, and as many prints as de- sired pulled off in the usual lithographing method. When carefully done and the right kind of paper used, it is said that the imitation of the original is perfect in every detail. To Copy Old Letters, Manuscripts, etc. ■ — If written in the commercial ink of the period from 1860 to 1864, which was almost universally an iron and tannin or gallic-acid ink, the following process may succeed; Make a thin solution of glucose, or honey, in water, and with this wet the paper in the usually observed way in copying recent documents in the letter book, put in the press, and screw down tightly. Let it remain in the press some- what longer than in copying recent docu- ments. When removed, before attempt- ing to separate the papers, expose to the fumes of strong water of ammonia, copy side downward. CORDAGE: See also Ropes. Strong Twine. — An extraordinarily strong pack thread or cord, stronger even than the so-called " Zuckerschnur," may be obtained by laying the thread of fibers in a strong solution of alum, and then carefully drying them. Preservation of Fishing Nets. — The following recipe for the preservation of fishing nets is also applicable to ropes, etc., in contact with water. Some have been subjected to long test. . For 40 parts of cord, hemp, or cot- ton, 3 parts of kutch, 1 part of blue vitriol, J part of potassium chromate, and 2 J parts of wood tar are required. The kutch is boiled with 150 parts of water until dissolved, and then tlie blue vitriol is added. Next, the net is entered and the tar added. The whole should be stirred well, and the cordage must boil 5 to 8 minutes. Now take out the net- tine, lay it in another vessel, cover up well, and leave alone for 12 hours. After that it is dried well, spread out in a clean Elace, and coated with linseed oil. Not efore 6 hours have elapsed should it be folded together and put into the water. The treatment with linseed oil may be omitted. CORDAGE LUBRICANT: See Lubricants. CORDAGE WATERPROOFING: See Waterproofing. CORDIALS: See Wines and Liquors. CORKS : Impervious Corks. — Corks which have been steeped in petrolatum are said to be an excellent substitute for glass stoppers. Acid in no way affects them and cnemi- cal fumes do not cause decay in them, neither do they become fixed by a blow or long disuse. CORKS— CORN CURES Non-Porous Corks. — For benzine, tur- pentine, and varnisli cans, immerse the corks in hot melted parafEne. Keep them under about 5 minutes; hold them down with a piece of wire screen cut to fit the dish in which you melt the paraf- fine. Whon taken out lay them on a screen till cool. Cheap corks can in this way be made gas- and air-tight, and can be cut and bored with ease. Substitute for Cork. — Wood pulp or other ligneous material may be treated to imitate cork. For the success of the composition it is necessary that the con- stituents be mingled and treated under special conditions. The volumetric pro- portions in which these constituents combine with the best results are the fol- lowing: Wood pulp, 3 parts; cornstalk pith, 1 part; gelatin, 1 part; glycerine, 1 part; water, i parts; 20 per cent formic- aldehyde solution, 1 part; but the pro- portions may be varied. After disinte- grating the ligneous substances, and while these are in a moist and hot condi- tion they are mingled with the solution of gelatm, glycerine, and water. The mass is stirred thoroughly so as to obtain a homogeneous mixture. The excess of moisture is removed. As a last opera- tion the formic aldehyde is introduced! and the mass is left to coagulate in this solution. The formic aldenyde renders the product insoluble in nearly all liquids. So it is in this last operation that it is necessary to be careful in producing the composition properly. When the oper- ation is terminated the substance is sub- mitted to pressure during its coagulation, either by molding it at once into a desired form, or into a mass which is afterwards converted into the finished product. CORKS, TO CLEAN: See Cleaning Preparations and Meth- ods, under Miscellaneous Methods. CORK TO METAL, FASTENING: See Adhe.sives, under Pastes. CORK AS A PRESERVATIVE: See Preserving. CORKS. WATERPROOFING: See Waterproofing. CORN CURES: I. — Salicylic-Acid Com Cure. — Extract cannabis indica, 1 part, by measure ; salicylic acid, 10 parts, by measure; oil of turpentine, 5 parts, by measure; acetic acid, glacial, 2 parts, by measure; coca- ine, alkaloidal, 2 parts, by measure; col- lodion, elastic, sufficient to make 100 parts. Apply a thin coating every night, putting each layer directly on the pre- ceding one. After a few applications, the mass drops off, bringing the indurated portion, and frequently the whole of the corn, off with it. II. — Compound Salicylated Collodion Corn Cure. — Salicylic acid, 11 parts, by weight; extract of Indiaii hemp, 2 parts, by weight; alcohol, 10 parts, by weight; flexible collodion, U. S. P., a sufficient quantity to make 100 parts, by weight. The exiract is dissolved in the alcohol and the acid in about 50 parts, by weight, of collodion, the solutions mixed, and the liquid made up to the required amount. The Indian hemp is presum- ably intended to prevent pain; whether it serves thw or any other useful purpose seems a matter of doubt. The acid is frequently us6d without this addition., III. — Extract of cannabis indica, 90 grains; salicylic acid, 1 ounce; alcohol, 1 ounce; collodion enough to make 10 ounces. Soften the extract with the alcohol, then add the collodion, and lastly the acid. IV. — Resorcin, 1 part, by weight; salicylic acid, 1 part, by weight; lactic acid, 1 part, by weight; collodion elasti- cum, 10 parts, by weight. Paint the corn daily for 5 or 6 days with the above solution and take a foot bath in very hot water. The corn will readily come off. Coni Plaster. -^Yellow wax, 24 parts, by weight; Venice turpentine, 3 parts, by weight; rosin, 2 parts, by weight; salicylic acid, 2 parts, by weight; balsam of Peru, 2 parts, by weight; lanolin, 4 parts, by weight. Corn Cure. — Melt soap plaster, 85 parts, by weight, and yellow wax, 5 parts by weight, in a vapor bath, and stir finely ground salicylic acid, 10 parts, by weight, into it. Removal of Corns. — The liquid used by chiropodists with pumice stone for the removal of corns and callosities is usually nothing more than a. solution of potassa or concentrated lye, the pumice stone being dipped into the solution by the operator just before using. Treatment of Bunions. — Wear right and left stockings and shoes, the inner edges of the sole of which are perfectly straight. The bunion is bathed night and morning in a 4 per cent solution of carbolic acid for a few minutes, followed by plain water. If, after several weeks, the bursa is still distended with fluid, it is aspirated. If the bunion is due to flatfoot, the arch of the foot must be restored by a plate. When the joints are enlarged because of gout or rheuma- CORN CURES— COSMETICS 225 tism, the constitutional conditions must be treated. In other cases, osteotomy and tenotomy are required. The Treatment of Corns. — Any corn may be speedily and permanently cured. The treatment is of three kinds — preven- tive, palliative, and curative. I. — The preventive treatment lies in adopting such measures as will secure freedom from pressure and friction for the parts most liable to corns. To this end a well-fitting shoe is essential. The shoes should be of well-seasoned leather, soft and elastic, and should be cut to a proper model. II. — The palliative treatment is gen- erally carried out with chemical sub- stances. The best method, is, briefly, as follows: A ring of glycerine jelly is painted around the circumference of the corn, to form a raised rampart. A piece of salicylic plaster mull is then cut to the size and shape of the central depression, and applied to the surface of the corn. This is then covered with a layer of glyc- erine jelly, and before it sets a pad of cotton wool is applied to the surface. This process is repeated as often as is necessary, until the horny layer separates and is cast off. If the point of a sharp, thin-bladed knife be introduced at the groove which runs around the margin of the corn, and be made to penetrate toward its central axis, by the exercise of a little manual dexterity the horny part of the corn can be easily made to separate from the parts beneath. III. — Any method of treatment to be curative must secure the removal of the entire corn, together with the under- lying bursa, fi is mainly in connection with the latter structure that complica- tions, which alone make a corn a matter of serious import, are likely to arise. Freeland confidently advises the full and complete excision of corns, on the basis of his experience in upward of 60 cases. Every precaution having been taken to render the operation aseptic, a spot is selected for the injection of the anaesthetic solution. The skin is rendered insen- sitive with ethyl chloride, and 5 minims of a 4 per cent solution of cocaine is in- jected into the subcutaneous^ tissue be- neath the corn. After a wait of a few minutes the superficial parts of the site of the incision are rendered insensitive with ethyl chloride. Anaesthesia is now complete. Two semielliptieal incisions meeting at their extremities are made through the skin around the circumference of tie growth, care being taken that they pen- etrate well into the subcutaneous tissue. Seizing the parts included in the incision with a pair of dissecting forceps, a wedge- shaped piece of tissue — including the corn, a layer of skin and subcutaneous tissue, and the bursa if present — is dis- sected out. The oozing is pretty free, and it is sometimes necessary to torsion a small vessel; but the hemorrhage is never severe. The edges of the wound are brought together by one or two fine sutures; an antiseptic dressing is applied, and the wound is left to heal— primary union in a few days being the rule. The rapidity of the healing is often phenom- enal. There is produced a scar tissue at the site of the corn, but this leads to no untoward results. Cosmetics COLD CREAM. I. — Oil of almonds .... 425 parts Lanolin 185 parts White wax 62 parts Spermaceti 62 parts Borax 4.5 parts Rose water 300 parts Melt together the£rst four ingredients, then incorporate the solution of borax in the rose water. II. — Tragacanth 125 parts Bone acid 100 parts Glycerine 140 parts Expressed oil of al- monds 50 parts Glyconine SO parts Oil of lavender. ... 0.5 parts Water enough to make 1,000 parts Mix the tragacanth and the boric acid with the glycerine; add the almond oil, lavender oil, and egg glycerite, which have been previously well incorporated, and, lastly, add the water in divided portions until a clear jelly of the desired consistency is obtained. III. — Oil of almonds 26 ounces Castor oil (odorless). 6 ounces Lard (benzoated) ... 8 ounces White wax.. . . ..... 8 ounces Rose water (in win- ter less, in sum- mer more, than quantity named) . . 12 ounces Orange-flower water 8 ounces Oil of rose 15 minims Extract of jasmine. . 6 drachms Extract of cassia. ... 4 drachms Borax 2 ounces Crlycerine 4 ounces 226 COSMETICS Melt the oil of sweet almonds, wax, and lard together, and stir in the castor oil; make a solution of the borax in the glycerine and rose and orange-flower waters; add this solution, a little at a time, to the melted fat, stirring con- stantly to insure thorough incorporation; finally add the oil of rose dissolved in the extracts, and beat the ointment until cold. IV. — Spermaceti (pure), i ounce; white wax (pure), J ounce; almond oil, J pound; butter of cocoa, J pound; lano- lin, 2 ounces. Melt and stir in 1 drachm of balsam of Peru. After settling, pour off the clear portion and add 2 fluidrachms of orange- flower water and stir briskly until it concretes. Camphorated Cold Cream. — Oil of sweet al- monds 8 fluidounces White wax 1 ounce Spermaceti 1 ounce Camphor 1 ounce Rose water 5 fluidounces Borax (in fine pow- der) 4 drachms Oil of rose 10 drops Melt the wax and spermaceti, add the oil of sweet almonds, in which the cam- phor has been dissolved with very gentle heat; then gradually add the rose water, in which the borax has previously been dissolved, beating or agitating con- stantly with a wooden spatula until cold. Lastly add the oil of rose. Petrolatum Cold Cream. — Petrolatum (white).. . 7 ounces Paraffine J ounce Lanolin 2 ounces Water 3 ounces Oil of rose 3 drops Alcohol 1 drachm A small quantity of borax may be added, if desirable, and the perfume may be varied to suit the taste. LIP SALVES: Pomades for the Lips. — Lip pomatum which is said always to retain a hand- some red color and never to grow rancid is prepared as follows: I. — Paraffine 80 . parts Vaseline 80 . parts Anchusine 0.5 parts Bergamot oil 1.0 part Lemon peel 1.0 part II. — Vaseline Pomade. — Vaseline oil, white. . . 1,000 parts Wax, white 300 parts Geranium oil, Afri- can 40 parts Lemon oil 20 parts III. — Rose Pomade. — • Almond oil 1,000 parts Wax, white 300 parts Alkannin 3 parts Geranium oil 20 parts IV. — ^Yellow Pomade. — Vaseline oil, white. 1,000 parts Wax, white 200 parts Spermaceti 200 parts Saffron surrogate. 10 parts Clove oil 20 parts v.— White Pomade.— Vaseline oil, white. 1,000 parts Wax, white 300 parts Bitter almond oil, genuine 10 parts Lemon oil 2 parts VI. — Paraffine 49 . parts Vaseline 49.0 parts Oil of lemon . 75 parts Oil of violet 0.75 parts Carmine, quantity sufficient. Lipol. — For treating sore, rough, or inflamed lips, applj? the following night and morning, rubbing in well with the finger tips: Camphor, J ounce; men- thol, J ounce; eucalyptol, 1 drachm; petrolatum (white), 1 pound; paraffine, i pound; alkanet root, J ounce; oil of bitter almonds, 15 drops; oil of cloves, 10 drops; oil of cassia, 5 drops. Digest the root in the melted paraffine and pe- trolatum, strain, add the other ingre- dients and pour into lip jars, hot. MANICURE PREPARATIONS: Powdered Nail Polishes. — I. — Tin oxide 8 drachms Carmine J drachm Rose oil 6 drops Neroli oil 5 drops II. — Cinnabar 1 drachm Infusorial earth 8 drachms III. — Putty powder (fine) . 4 drachms Carmine 2 grains Oil of rose 1 drop IV. — White castile soap. . . 1 part Hot water 16 parts Zinc chloride solu- tion, 10 per cent, quantity sufficient. Dissolve the soap in the water and to the solution add the zinc-chloride solu- tion until no further precipitation oc- curs. Let stand over night; pour off the supernatant fluid, wash the precipitate COSMETICS well with water, and dry at the ordinary temperature. Carmine may be added if desired. Polishing Pastes for the Nails. — I. — Talcum 6 drachms Stannous oxide 3 drachms Powdered tragacanth 5 grains Glycerine 1 drachm Rose water, quantity sufficient. Solution of carmine sufficient to tint. Make paste. For softening the nails, curing hang- nails, etc., an ointment is sometimes used consisting of white petrolatum, 8 parts; powdered castile soap, 1 part; and per- fume to suit. II. — Eosine 10 grains White wax J drachm Spermaceti J drachm Soft paraffine 1 ounce Alcohol, a sufficient quantity. Dissolve the eosine in as little alcohol as will suffice, melt the other ingredients to- gether, add the sol ution, and stir until cool. Nail-Cleaning Washes. — I. — Tartaric acid 1 drachm Tincture of myrrh . . 1 drachm Cologne water 2 drachms Water 3 ounces Dissolve the acid in the water; mix the tincture of myrrh and cologne, and add to the acid solution. Dip the nails in this solution, wipe, and polish with chamois skin. II. — Oxalic acid 30 grains Rose water 1 ounce Nail Varnish. — Paraffine wax 60 grains Chloroform 2 ounces Oil of rose 3 drops POMADES: I. — Beef -Marrow Pomade. — Vaseline oil, yel- low 20,000 parts Ceresine, yellow 3,000 parts Beef marrow . . 2,000 parts Saffron substi- tute 15 parts Lemon oil 50 parts Bergamot oil. . . 20 parts Clove oil 5 parts Lavender oil. . . 10 parts II. — China Pomade. — Vaseline oil, yellow. 20,000 parts Ceresine, yel- low 5,000 parts 8 Brilliant, brown 12 parts Peru balsam.. . 60 parts Lemon oil 5 parts Bergamot oil . . 5 parts Clove oil 5 parts Lavender oil.. 5 parts III. — Crystalline Honey Pomade. — Nut oil, 125 drachms; spermaceti, 15 drachms: gamboge, 2 drachms; vervain oil, 10 drops; cinnamon oil, 20 drops; bergamot oil, 30 drops; rose oil, 3 drops. The spermaceti is melted in the nut oil on a water bath and digested with the gamboge for 20 minutes; it is next strained, scented, and poured into cans which are standing in water. The cool- ing must take place very slowly. In- stead of gamboge, butter color may be used. An/ desired scent mixture may be employed. IV.— Herb Pomad'i.— Vaseline oil, yel- low 20,000 parts Ceresine, yellow 5,000 parts Chlorophyll ... 20 parts Lemon oil 50 parts Clove oil 20 parts Geranium oil, African 12 parts Curled mint oil. 4 parts V. — ^Rose Pomade. — Vaseline oil, white 20,000 parts Ceresine, white 5,000 parts Alkannin 15 parts Geranium oil, African SO parts Palmarosa oil. 30 parts Lemon oil. . . . 20 parts VI. — Strawberry Pomade. — When the strawberry season is on, and berries are plenty and cheap, the following is timely: Strawberries, ripe and fresh 4 parts Lard, sweet and fresh 25 parts Tallow, fresh 5 parts Alkanet tincture, quantity suffi- cient. Essential oil, quan- tity sufficient to perfume. Melt lard and tallow together on the water bath at the temperature of boiling water. Have the strawberries arranged on a straining cloth. Add the alkanet tincture to the melted grease, stir in, and then pour the mixture over the berries. Stir the strained fats until the mass be- COSMETICS gins to set, then add the perfume and stir in. A little artificial essence of strawberries may be added. The odor usually employed is rose, about 1 drop to every 2 pounds. VII.— Stick Pomade.— Tallow 600 parts Ceresine 150 parts Wax, yellow 50 parts Rosin, light . . 200 parts ParafSne oil (thick) 300 parts Oil of cassia 5 parts Oil of bergamot. . 5 parts Oil of clove 2 parts VIII.— Vaseline Pomade.— Melt 250 parts of freshly rendered lard and 25 parts of white wax at moderate heat and mix well with 200 parts of vaseline. Add 15 parts of bergamot oil, 3 parts of lavender oil, 2 parts of geranium oil, and 2 parts of lemon oil, mixing well. IX.— Witch-Hazel Jelly.— Oil of sweet al- monds 256 parts Extract of witch- hazel fluid 10 parts Glycerine 32 parts Soft soap 20 parts Tincture of musk, quantity suf- ficient to perfume. Mix in a large mortar the glycerine and soft soap and stir until incorporated. Add and rub in the witch-hazel, and then add the oil, slowly, letting it fall in a very thin, small stream, under con-, stant agitation; add the perfume, keep- ing up the agitation until complete in- corporation is attained. Ten drops of musk to a quart of jelly is sufficient. Any other perfume may be used. Colors for Pomade. — Pomade may be colored red by infusing alkanet in the grease; yellow may be obtained by using annotto in the same way; an oil-soluble chlorophyll will give a green color by admixture. In coloring grease by means of alkanet or annotto it is best to tie the drug up in a piece of coarse cloth, place in a small portion of the grease, heat gently, squeez- ing well with a rod from time to time; and then adding this strongly colored grease to the remainder. This proce- dure obviates exposing the entire mass to heat, and neither decantation nor straining is needed. Brocq's Pomade for Itching. — Acid phenic 1 part Acid salicylic 2 parts Acid tartaric ... 3 parts Gly cerole of starch 60 to 100 parts Mix and make a pomade. White Cosmetique.— Jasmine pomade 2 ounces Tuberose pomade. ... 2 ounces White wax 2 ounces Refined suet 4 ounces Rose oil 15 minims Melt the wax and suet over a water bath, then add the pomades, and finally the otto. Glycerine and Cucumber Jelly.- — • Gelatin 160 to 240 grains Boric acid 240 grains Glycerine 6 fluidounces Water 10 fluidounces Perfume to suit. The perfume must be one that mixes without opalescence, otherwise it mars the beauty of the prep- aration. Orange-flower water or rose water could be substituted for the water if desired, or another perfume consisting of Spirit of vanillin (15 grains per ounce). 2 fluidrachms Spirit of coumarin (15 grains per ounce) 2 fluidrachms Spirit of bitter al- monds (J) 8 minims to the quantities given above would prove agreeable. Cucumber Pomade. — Cucumber pomade. . . 2 ounces Powdered white soap. Jounce Powdered borax 2 drachms Cherry-laurel water. . 3 ounces Rectified spirit 3 ounces Distilled water to make 48 ounces Rub the pomade with the soap and borax until intimately mixed, then add the distilled water (which may be warmed to blood heat), ounce by ounce, to form a smooth and uniform cream. When 40 ounces of water have been so incorporated, dissolve any essential oils desired as perfume in the spirit, and add the cherry-laurel water, making up to 48 ounces with plain water. ROUGES AND PAINTS: Grease Paints.— Theatrical face paints are sold in sticks, and there are many varieties of color. Yellows are obtained with ocher; browns with burnt umber; and blue is made with ultramarine. These colors should in each case be levi- gated finely along with their own weight COSMETICS 229 of equal parts of precipitated chalk and oxide of zinc and diluted with the same to the tint required, then made into sticks with mutton suet (or vaseline or paraf- fine, equal parts) well perfumed. By blending these colors, other tints may thus be obtained. White Grease Paints. — I. — Prepared chalk . . 4 av. ounces Zinc oxide 4 av. ounces Bismuth subni- trate 4 av. ounces Asbestos powder. 4 av. ounces Sweet almond oil, about 2J fluidounces Camphor 40 grains Oil peppermint. . . 3 nuidrachms Esobouquet ex- tract 3 fluidrachms Sufficient almond oil should be used to form a mass of proper consistence. II. — Zinc oxide 8 parts Bismuth subnitrate . . 8 parts Aluminum oxychlor- ide 8 parts Almond oil, quantity sufficient, or 5-6 parts. Perfume, quantity sufficient. Mix the zinc, bismuth, and aluminum oxychloride thoroughly; make into a paste with the oil . Any perfume may be added, 1 but that generally used i^ composed of 1 drachm of essence of bouquet, 12 grains of camphor, and 12 minims of oil or pep- permint for every 3 J ounces of paste. Bright Red.— Zinc oxide 10 parts Bismuth subnitrate. . . 10 parts Aluminum oxychlor- ide 10 parts Almond oil, quantity sufficient. Mix the zinc, bismuth, and aluminum salts, and to every 4 ounces of the mix- ture add 2J grainj of eosine dissolved in a drachm of essence of bouquet, 12 minims oil of peppermint, and 12 grains of cam- phor. Make the whole into a paste with almond oil. Red.— Cacao butter 4 av. ounces White wax 4 av. ounces Olive oil 2 fluidounces Oil of rose 8 drops Oil of bergamot . . 3 drops Oil of neroli 2 drops Tincture musk ... 2 drops Carmine 90 grains Ammonia water . . 3 nuidrachms Deep, or Bordeaux, Red. — Zinc oxide 30 parts Bismuth subnitrate. . . 30 parts Aluminum oxychlor- ide. 30 parts Carmine 1 part Ammonia water 5 parts Essence bouquet 3 parts Peppermint, camphor, etc., quan- tity sufficient. Mix the zinc, bismuth, and aluminum salts. Dissolve the carmine in the am- monia and add solution to the mixture. Add 24 grains of camphor, and 24 minims of oil of peppermint dissolved in the essence bouquet, and make the whole into a paste with oil of sweet almonds. Vermilion. — Vermilion 18 parts Tincture of saffron. . 12 parts Orris root, powdered 30 parts Chalk, precipitated. . 120 parts Zinc oxide 120 parts Camphor 2 parts Essence bouquet. ... 9 parts Oil of peppermint. . . 2 parts Almond oil, quantity sufficient. Mix as before. Pink.— Zinc carbonate 250 parts Bismuth subnitrate. . 250 parts Asbestos 250 parts Expressed oil of al- monds 100 parts Camphor 55 parts Oil of peppermint . . 55 parts Perfume 25 parts Eosine 1 part Dark Red. — Like the preceding, but colored with a solution of carmine. Rouge. — Zinc oxide 2i ounces Bismuth subnitrate. . . 2 J ounces Aluminum plumbate . 2 1 ounces Eosine 1 drachm Essence bouquet 2 drachms Camphor 6 drachms Oil of peppermint. ... 20 minims Almond oil, quantity sufficient. Dissolve the eosine in the essence bouquet, and mix with the camphor and peppermint; add the powder and make into a paste with almond oil. Black Grease Paints. — I. — Soot 2 av. ounces Sweet almond oil . 2 fluidounces Cacao butter 6 av. ounces Perfume, sufficient. COSMETICS The soot should be derived from burning camphor and repeatedly washed with alcohol. It should be triturated to a smooth mixture with the oil; then add to the melted cacao butter; add the per- fume, and form into sticks. Brown or other colors may be obtained by adding appropriate pigments, such as finely levigated burned umber, sienna, ocher, jeweler's rouge, etc., to the fore- going base instead of lampblack. II. — Best lampblack 1 drachm Cacao butter 3 drachms Olive oil 3 drachms Oil of neroli 2 drops Melt the cacao butter and oil, add the lampblack, and stir constantly as the mixture cools, adding the perfume toward the end. III. — Lampblack 1 part Cacao butter 6 parts Oil neroli, sufficient. Melt the cacao butter and the lamp- black, and while cooling make an inti- mate mixture, adding the perfume toward the last. IV. — Lampblack 1 part Expressed oil of al- monds 1 part Oil cocoanut 1 part Perfume, sufficient. Beat the lampblack into a stiff paste with glycerine. Apply with a sponge; if necessary, mix a little water with it when using. V. — Beat the finest lampblack into a stiff paste with glycerine and apply with a sponge; if necessary, add a little water to the mixture when using. Or you can make a grease paint as follows: Drop black, 2 drachms; almond oil, 2 drachms; cocoanut oil, 6 drachms; oil of lemon, 5 minims; oil of neroli, 1 minim. Mix. Fatty Face Powders.— These have a small percentage of fat mixed with them in order to make the powder adhere to the skin. Dissolve 1 drachm anhydrous lano- lin in 2 drachms of ether in a mortar. Add 3 drachms of light magnesia. Mix well, dry, and then add the following: French chalk, 2 ounces; powdered starch, IJ ounces; boric acid, 1 drachm; perfume, a sufficient quantity. A good perfume is coumarin, 2 grains, and attar of rose, 2 minims. Nose Putty. — I . — Mix 1 ounce wheat flour with 2 drachms of powdered tragacanth and tint with carmine. Take as much of the powder as necessary, knead into a stiff paste with a little water and apply to the nose, having pi;eviously painted it with spirit gum. II. — White wax, 8 parts; rosin, white, 8 parts; mutton suet, 4 parts; color to suit. Melt together. Rose Powder. — As a base take 200 parts of powdered iris root, add 600 parts of rose petals, 100 parts of sandalwood, 100 parts of patchouli, 3 parts of oil of geranium, and 2 parts of true rose oil. Rouge Tablets. — There are two dis- tinct classes of these tablets: those in which the coloring matter is carmine, and those in which the aniline colors are used. The best are those prepared with carmine, or ammonium carminate, to speak more correctly. The following is an excellent formula: Ammonium carminate. . . 10 parts Talc, in powder 25 parts Dextrin 8 parts Simple syrup, sufficient. Perfume, to taste, sufficient. Mix the talc and dextrin and add the perfume, preferably in the shape of an essential oil (attar of rose, synthetic oil of jasmine, or violet, etc.), using 6 to 8 drops to every 4 ounces of other in- gredients. Incorporate the ammonium carminate and add just enough simple svrup to make a mass easily rolled out. Cut into tablets of the desired size. The ammonium carminate is made by adding 1 part of carmine to 2 J parts of strong ammonia water. Mix in a vial, cork tightly, and set aside until a solution is formed, shaking occasionally. The am- monium carminate is made by dissolving carmine in ammonia water to saturation. Rouge Palettes. — To prepare rouge palettes rub up together: Carmine 9 parts French chalk 50 parts Almond oil 12 parts Add enough tragacanth mucilage to make the mass adhere and spread the whole evenly on the porcelain palette. Liquid Rouge. — I. — Carmine 4 parts Stronger ammonia water 4 parts Essence of rose .... 16 parts Rose water to make . 500 parts Mix. A very delightful violet odor, if this is preferred, is obtained by using ionone in place of rose essence. A cheaper preparation may be made as follows: COSMETICS 231 II. — Eosine 1 part Distilled water 20 parts Glycerine 5 parts Cologne water 75 parts Alcohol 100 parts Mix. Rub together with 10 parts of almond oil and add sufficient mucilage of traga- canth to make the mass adnere to the porcelain palette. III. — Carmine 1 part Stronger ammonia water 1 part Attar of rose 4 parts Rose water 125 parts Mix. Any other color may be used in place of rose, violet (ionone), for in- stance, or heliotrope. A cheaper prep- aration may be made by substituting eosine for the carmine, as follows: IV. — Eosine 1 part Distilled water .... 20 parts Glycerine 5 parts Cologne water 75 parts Alcohol 100 parts Mix. Peach Tint.— a. — Buffalo eosine .... 4 drachms Distilled water 16 iluidounces Mix. 5. — Pure hydrochloric acid 2i drachms Distilled water 64 fluidounces Mix. Pour a into 5, shake, and set aside for a few hours; then pour off the clear por- tion and collect the precipitate on a filter. Wash with the sataie amount of 6 and immediately throw the precipitate into a glass measure, stirring in with a glass rod sufficient of b to measure 16 ounces in all. Pass through a hair sieve to get out any filtering paper. To every 16 ounces add 8 ounces of glycerine. Theater Rouge. — Base: Cornstarch 4 drachms Powdered white tal- cum 6 drachms Mix. a. — Carminoline 10 grains Base 6 drachms Water 4 drachms Dissolve the carminoline in the water, mix with the base and dry. 6. — Geranium red 10 grains Base 6 drachms Water 4 drachms Mix as above and dry. SKIN FOODS. Wrinkles on the face yield to a wash consisting of 50 parts milk of almonds (inade with rose water) and 4 parts alu- minum sulphate. Use morning and night. Rough skin is to be washed constantly in Vichy water. Besides this, rough places are to have the following applica- tion twice daily — either a few drops of: I. — Rose water 100 parts Glycerine 25 parts Tannin f part Mix. Or use: II. — Orange-flower water 100 parts Glycerine 10 parts Borax 2 parts Mix. Sig. : Apply twice daily. " Beauty Cream." — This formula gives the skin a beautiful, smooth, and fresh appearance, and, at the same time, serves to protect and preserve it: Alum, powdered 10 grams Whites of 2 eggs Boric acid 3 grams Tincture of benzoin . . 40 drops Olive oil 40 drops Mucilage of acacia. . . 5 drops Rice flour, quantity sufficient. Perfume, quantity sufficient. Mix the alum and the white of eggs, without any addition of water whatever, in an earthen vessel, and dissolve the alum by the aid of very gentle heat (derived from a lamp, or gaslight, regulated to a very small flame), and constant, even, stirring. This must continue until the aqueous content of the albumen is com- pletely driven off. Care must be taken to avoid coagulation of the albumen (which occurs very easily, as all know). Let the mass obtained in this manner get completely cold, then throw into a Wedg- wood mortar, add the boric acid, tinc- ture of benzoin, oil, mucilage (instead of which a, solution of fine gelatin may be used), etc., and rub up together, thickening it with the addition of suffi- cient rice flour to give the desired con- sistence, and perfviming at will. In- stead of olive oil any pur'e fat, or fatty oil, may be used, even vaseline or glyc- erine. Face Bleach or Beautifier. — Syrupy lactic acid. ... 40 ounces Glycerine 80 ounces Distilled water 5 gallons Mix. Gradually add Tincture of benzoin . . 3 ounces Color by adding ^32 COSMETICS Carmine No. 40 40 grains Glycerine 1 ounce Ammonia solution. .. J ounce Water to 3 ounces Heat this to drive off the ammonia, and mix all. Shake, set aside; then filter, and add Solution of ionone.. . . 1 drachm Add a few drachms of kaolin and filter until bright. BLACKHEAD REMEDIES. I. — Lactic acid 1 drachm Boric acid 1 drachm Ceresine 1 drachm Paraffine oil 6 drachms Hydrous wool fat. . . 1§ ounces Castor oil 6 drachms II. — Unna advises hydrogen dioxide in the treatment of blackheads, his pre- scription being: Hydrogen dioxide 20 to 40 parts Hydrous wool fat . . 10 parts Petrolatum 30 parts III.— Thymol 1 part Boric acid 2 parts Tincture of witch- hazel 18 parts Rose water suffi- cient to make . . . 200 parts Mix. Apply to the face night and morning with a sponge, first washing the face with hot water and castile soap, and drying it with a coarse towel, using force enough to start the dried secretions. An excellent plan is to steam the face by holding it over a basin of hot water, keeping the head covered with a cloth. IV. — Ichthyol 1 drachm Zinc oxide 2 drachms Starch 2 drachms Petrolatum 3 drachms This paste should be applied at night. The face should first be thoroughly steamed or washed in water as hot as can be comfortably borne. All pus- tules should then be opened and black- heads emptied with as little violence as possible. After careful drying the paste should be thoroughly rubbed into the affected areas. In the morning, after removing the paste with a bland soap, bathe with cool water and dry with little friction. HAND CREAMS AND LOTIONS: Chapped Skin. — I.— Glycerine 8 parts Bay rum 4 parts Ammonia water 4 parts Rose water 4 parts Mix the bay rum and glycerine, add the ammonia water, and finally the rose water. It is especially efficacious after shaving. II. — As glycerine is bad for the skin of many people, here is a recipe which will be found more generally satisfactory as it contains less glycerine: Bay rum, 3 ounces; glycerine, 1 ounce; carbolic acid, J drachm (30 drops). Wash the hands well and apply while hands are soft, preferably just before going to bed. Rub m thoroughly. This rarely fails to cure the worst "chaps" in two nights. III. — A sure remedy for chapped hands consists in keeping them carefully dry and greasing them now and then with an anhydrous fat (not cold cream). The best substances for the purpose are un- guentum cereum or oleum olivarum. If the skin of the hands is already cracked the following preparation will heal it: Finely ground zinc oxide, 5.0 parts; bismuth oxychloride, 2.0 parts; with fat oil, 12.0 parts; next add glycerine, 5.0 parts; lanolin, 30.0 parts; and scent with rose water, 10.0 parts. IV. — Wax salve (olive oil 7 parts, and yellow wax 3 parts), or pure olive oil. Hand-Cleaning Paste. — Cleaning pastes are composed of soap and grit, either with or without some free alkali. Any soap may be used, but a white soap is preferred. Castile soap does not make as firm a paste as soap made from animal fats, and the latter also lather better. For grit, anything may be used, from powdered pumice to fine sand. A good paste may be made by dissolv- ing soap in the least possible quantity of hot water, and as it cools and sets stirring in the grit. A good formula is: White soap 2 J pounds Fine .sand 1 pound Water 5 J pints Lotion for the Hands. — Boric acid 1 drachm Glycerine 6 drachms Dissolve by heat and mix with Lanolin 6 drachms Vaseline 1 ounce Add any perfume desired. The bora- ted glycerine should be cooled before mixing it with the lanolin. Cosmetic Jelly. — Tragacanth (white rib- bon) 60 grains Rose water 14 ounces Macerate for two days and strain forcibly through coarse muslin or cheese COSMETICS cloth. Add glycerine and alcohol, of each 1 ounce. Perfume to suit. Use immediately after bathing, rubbing in well until dry. Perspiring Hands. — I. — Take rectified eau de cologne, 50 parts (by weight); belladonna dye, 8 parts; glycerine, 3 parts; rub gently twice or three times a day with half a tablespoonful of this mixture. One may also employ chalk, carbonate of magnesia, rice starch, hot and cold baths of the hands (as hot and as cold as can be borne), during 6 min- utes, followed by a solution of 4 parts of tannin in 32 of glycerine. II.— Rub the hands several times per day with the following mixture: By weight Rose water 125 parts Borax 10 parts Glycerine 8 parts Hand Bleach. — Lanolin, 30 parts ; glycerine, 20 parts ; borax, 10 parts ; eucalyptol, Z parts ; essential oil of al- monds, 1 part. After rubbing the hands with this mixture, cover them with gloves during the night. For the removal of developing stains, see Photography. MASSAGE CREAMS: Massage Application. — White potash soap, shaved 20 parts Glycerine. .■ 30 parts Water 30 parts Alcohol (90 per cent) . 10 parts Dissolve the soap by heating it with the glycerine and water, mixed. Add the alcohol, and for every 30 ounces of the solution add 5 or 6 drops of the mis- tura oleoso balsamica, German Phar- macopoeia. Filter while hot. Medicated Massage Balls. — They are the balls of paraffine wax molded with a smooth or rough surface with menthol, camphor, oil of wintergreen, oil of pep- permint, etc., added before shaping. Spe- cially useful in headaches, neuralgias, and rheumatic affections, and many other afflictions of the skiu_ and bones. The method of using them is to roll the ball over the affected part by the aid of the palm of the hand with_ pressure. Continue until relief is obtained or a sensation of warmth. The only external method for the treatment of all kinds of headaches is the menthol medicated mas- sage ball. This may be made with smooth or corrugated surfaces. Keep wrapped in foil in cool places. Casein Massage Cream. — The basis of the modern massage cream is casein. Casein is now produced very cheaply in the powdered form, and by treatment with glycerine and perfumes it is possible to turn out a satisfactory cream. The following formula is suggested: Skimmed milk 1 gallon Water of ammonia. . 1 ounce Acetic acid 1 ounce Oil of rose geranium 1 drachm Oil of bitter almond. 1 drachm Oil of anise 2 drachms Cold cream (see below), enough. Carmine enough to color. Add the water of ammonia to the milk and let it stand 24 hours. Then add the acetic acid and let it stand another 24 hours. Then strain through cheese cloth and add the oils. Work this thoroughly in a Wedgwood mortar, adding enough carmine to color it a delicate pink. To the product thus obtained add an equal amount of cold cream made by the for- mula herewith given: White wax 4 ounces Spermaceti 4 ounces White petrolatum. ... 12 ounces Rose water 14 ounces Borax 80 grains Melt the wax, spermaceti, and petro- latum toeether over a water bath; dis- solve the Dorax in the rose water and add to the melted mass at one time. Agitate violently. Presumably the borax solu- tion should be of the same temperature as the melted mass. Massage Skin Foods. — This preparation is used in massage for removing wrinkles: I. — White wax J ounce Spermaceti § ounce Cocoanut oil 1 ounce Lanolin 1 ounce Oil of sweet almonds 2 ounces Melt in a porcelain dish, remove from the fire, and add Orange-flower water. . . 1 ounce Tincture of benzoin. . . 3 drops Beat briskly until creamy. II. — Snow-white cold cream 4 ounces Lanolin 4 ounces Oil of theobroma ... 4 ounces White petrolatum oil 4 ounces Distilled water 4 ounces In hot weather add Spermaceti 1 J drachms White wax 2J drachms 234! COSMETICS In winter the two latter are left out and the proportion of cocoa butter is modi- fied. Prepared and perfumed in pro- portion same as cold cream. III. — White petrolatum 7 av. ounces Paraffine wax. ... J ounce Lanolin 2 av. ounces Water 3 fluidounces Oil of rose 3 drops Vanillin 2 grams Alcohol 1 fluidrachm Melt the paraffine, add the lanolin and petrolatum, and when these have melted pour the mixture into a warm mortar, and, with constant stirring, incorporate the water. When nearly cold add the oil and vanillin, dissolved in the alcohol. Preparations of this kind should be rubbed into the skin vigorously, as fric- tion assists the absorbed fat in developing the muscles, and also imparts softness and fullness to the skin. SKIN BLEACHES, BALMS, LOTIONS, ETC.: See also Cleaning Methods and Photog- raphy for removal of stains caused by photographic developers. Astringent Wash for Flabby Skin.— This is used to correct coarse pores, and to remedy an oily or flabby skin. Apply with sppnge night and morning: Cucumber juice 1 J ounces Tincture of benzoin . . j ounce Cologne 1 ounce Elder-flower water. . . 5 ounces Put the tincture of benzoin in an 8-ounce bottle, add the other ingredients, previously mixed, and shake slightly. There will be some precipitation of ben- zoin in this mixture, but it will settle out, or it may be strained out through cheese cloth. Bleaching Skin Salves. — A skin-bleach- ing action, due to the presence of hydro- gen peroxide, is possessed by the follow- ing mixtures: I. — Lanolin 30 parts Bitter almond oil. ... 10 parts Mix and stir with this salve base a solution of Borax 1 part Glycerine 15 parts Hydrogen peroxide. . 15 parts For impure skin the following com- position is recommended: II. — White mercurial oint- ment 5 grams Zinc ointment 5 grams Lanolin 30 grams Bitter almond oil. . . . 10 grams And gradually stir into this a solution of Borax 2 grams Glycerine 30 grams Rpse water 10 grams Concentrated nitric acid 5 drops III. — Lanolin 30 grams Oil sweet almond. . . 10 grams Borax 1 gram Glycerine 15 grams Solution hydrogen peroxide 15 grams Mix the lanolin and oil, then incor- porate the borax previously dissolved in the mixture of glycerine and peroxide solution. IV. — Ointment ammoniac mercury 6 grams Ointment zinc oxide. 5 grams Lanolin 30 grams Oil sweet almond.. . 10 grams Borax 2 grams Glycerine 30 grams Rose water 10 grams Nitric acid, C. P. . . . 5 drops Prepare in a similar manner as the foregoing. Rose oil in either ointment makes a good perfume. Both ointments may, of course, be employed as a general skin bleach, which, in fact, is their real office — cosmetic creams. Emollient Skin Balm. — Quince seed J ounce Water '. . 7 ounces Glycerine 1 J ounces Alcohol 4 1 ounces Salicylic acid 6 grains Carbolic acid 10 grains Oil of bay 10 drops Oil of cloves 5 drops Oil of orange peel. .. . 10 drops Oil of wintergreen. ... 8 drops Oil of rose 2 drops Digest the quince seed in the water for 24 hours, and then press through a, cloth; dissolve the salicylic acid in the alcohol; add the carbolic acid to the glyc- erine; put all together, shake well, and bottle. Skin Lotion. — Zinc sulphocaiJjo- late 30 grains Alcohol (90 per cent) 4 fluidrachms Glycerine 2 fluidrachms Tincture of cochi- neal 1 fluidrachm Orange-flower ■water 1 J fluidounces Rose water (triple) to make 6 fluidounces COSMETICS 235 Skin Discoloration. — Discoloration of the neck may be removed by the use of acids, the simplest of which is that in buttermilk, but if the action of this is too slow try 4 ounces of lactic acid, 2 of glycerine, and 1 of rose water. These will mix without heating. Apply sev- eral times daily with a soft linen rag; pour a small quantity into a saucer and dip the cloth into this. If the skin be- comes sore use less of the remedy and allay the redness and smarting with a good cold cream. It is always an acid that removes freckles and discolorations, by burning them off. It is well to be slow in its use until you iind how severe its action is. It is not wise to try for home making any of the prescriptions which include corrosive sublimate or any other deadly poison. Peroxide of hydro- gen diluted v/ith 5 times as much water, also will bleach discolorations. Do not try any of these bleaches on a skin freshly sunburned. For that, wash in hot water, or add to the hot water application enough witch-hazel to scent the water, and after that has dried into the skin it will be soon enough to try other applications. Detergent for Skin Stains. — Moritz Weiss has introduced a detergent paste which will remove stains from the skin without attacking it, is non-poisonous, and can be used without hot water. Moisten the hands with a little cold water, apply a small quantity of the paste to the stained skin, rub the hands together for a few minutes, and rinse with cold water. The preparation is a mixture of soft soap and hard tallow, melted to- gether over the fire and incorporated with a little emery powder, flint, glass, sand, quartz, pumice stone, etc., with a little essential oil to mask the smell of the soap. The mixture sets to a mass like putty, but does not dry hard. The approxima,te proportions of the ingre- dients are: Soft soap, 30 per cent; tal- low, 15 per cent; emery powder, 55 per cent, and a few drops of essential oil. If an extra detergent quality is de- sired, 4 ounces of sodium carbonate may be added, and the quantity of soap may be reduced. Paste thus made will at- tack grease, etc., more readily, but it is harder on the skin. Removing Inground Dirt. — Egg albumen. 8 parts Boric acid 1 part Glycerine 32 parts Perfume to suit. Distilled water to make. 50 parts Dissolve the boric acid in a suflScient quantity of water; mix the albumen and glycerine and pass through a silk strain- er. Finally, mix the two fluids and add the residue of water. Every time the hands are washed, dry on a towel, and then moisten them lightly but thoroughly with the liquid, and dry on a soft towel without rubbing. At night, on retirinfj, apply the mixture and wipe slightly or just enough to take up superfluous liquid; or, better still, sleep in a pair of cotton gloves. TOILET CREAMS: Almond Cold Creams. — A liquid al- mond cream may be made by the ap- pended formula. It has been known as milk of almond: I. — Sweet almonds. ... 5 ounces White castile soap. 2 drachms White wax 2 drachms Spermaceti 2 drachms Oil of bitter al- monds 10 minims Oil of bergamot. . . 20 minims Alcohol 6 fluidounces Water, a suiEcient quantity. Beat the almonds in a smooth mortar until as much divided as their nature will admit; then gradually add water in very small quantities, continuing the beating until a smooth paste is obtained; add to this, gradually, one pint of water, stirring well all the time. Strain the resulting emulsion without pressure through a cotton cloth previously well washed to remove all foreign matter. If new, the cloth will contain starch, etc., which mu.st be removed. Add, through the strainer, enough water to bring the meas- ure of the strained liquid to 1 pint. While this operation is going on let the soap be shaved into thin ribbons, and melted, with enough water to cover it, over a very gentle fire or on a water bath. When fluid add the wax and spermaceti in large pieces, so as to allow them to melt slowly, and thereby better effect union with the soap. Stir occasionally. When all is melted place the soapy mixture in a mortar, run into it slowly the emulsion, blending the two all the while with the pestle. Care must be taken not to add the emulsion faster than it can be incor- porated with the soap. Lastly add the alcohol in which the perfumes have been previously dissolved, in the same man- ner, using great care. This preparation is troublesome to make and rather expensive, and it is perhaps no better for the purpose than glycerine. The mistake is often made of applying the latter too freely, its "stickiness being unpleasant, andf it is ^36 COSMETICS best to dilute it largely with water. Such a lotion may be made by mixing Glycerine 1 part Rose water 9 parts Plain water may, of course, be used as the diluent, but a slightljr perfumed preparation is generally considered more desirable. The perfume may easily be obtained by dissolving a very small pro- portion of handkerchief "extract" or some essential oil in the glycerine, and then mixing with plain water. II. — White wax \ ounce Spermaceti 2 J ounces Oil of sweet al- monds 2 J ounces Melt, remove from the fire, and add Rose water 1 J ounces Beat until creamy: not until cold. When the cream begins to thicken add a few drops of oil of rose. Only the finest almond oil should be used. Be careful in weighing the wax and spermaceti. These precautions will insure a good product. III. — White wax 4 ounces Spermaceti 3 ounces Sweet almond oil 6 fluidounces Glycerine i fluidounces Oil of rose gera- nium 1 fluidrachm Tincture of ben- zoin 4 fluidrachms Melt the wax and spermaceti, add the oil of sweet almonds, then beat in the glycerine, tincture of benzoin, and oil of rose geranium. When all are incor- porated to a smooth, creamy mass, pour into molds. IV. — Sweet almonds, blanched 5 ounces Castile soap, white 120 grains White wax 120 grains Spermaceti .... 120 grains Oil of bitter al- monds 10 drops Oil of bergamot 20 drops Alcohol 6 fluidounces Water, sufficient. Make an emulsion of the almonds with water so as to obtain 16 fluidounces of product, straining through cotton which has previously been washed to remove starch. Dissolve the soap with the aid of heat in the necessary amount of water to form a, liquid, add. the wax and spermaceti, continue the heat until the latter is melted, transfer to a mortar, and incorporate the almond emulsion slowly with constant stirring until all has been added and a. smooth cream has been formed. Finally, add the two vola- tile oils. V. — Melt, at moderate heat, By weight. White wax 100 parts Spermaceti 1,000 parts Then stir in By weight. Almond oil 500 parts Rose water 260 parts And scent with By weight. Bergamot oil ... . 10 parts Geranium oil. . . . 5 parts Lemon oil 4 parts By weight. VI. — Castor oil 500 parts White wax 100 parts Almond oil 150 parts Melt at moderate heat and scent with By weight. Geranium oil ... . 6 parts Lemon oil 5 parts Bergamot oil ... . 10 parts By weight. VII. — Almond oil 400 parts Lanoline 200 parts White wax 60 parts Spermaceti 60 parts Rose water 300 parts By weight. VIIL— White wax 6 parts Tallow, freshly tried out 4 parts Spermaceti 2 parts Oil of sweet al- monds 6 parts Melt together and while still hot add, with constant stirring, 1 part of sodium carbonate dissolved in 79 parts of hot . water. Stir until cold. Perfume to the taste. IX. — Ointment of rose water. . . 1 ounce Oil of sweet almonds .... 1 fluidounce Glycerine 1 fluidounce Boric acid 100 grains Solution of soda 2i fluidounces Mucilage of quince seed . 4 fluidounces Water enough to make 40 fluidounces Oil of rose, oil of bitter almonds, of each sufficient to perfume. Heat the ointment, oil, and solution of soda together, stirring constantly until an emulsion or saponaceous mixture is COSMETICS 237 formed. _ Then warm together the glyc- erine, acid, and mucilage and about 30 fluidounces of water; mix with the emul- sion, stir until cold, and add the re- mainder of the water. Lastly, add the volatile oils. The rose-water ointment used should be the "cold cream" of the United States Pharmacopoeia. X. — Spermaceti. ... 2 ounces White wax .... 2 ounces Sweet almond oil 14 fluidounces Water, distilled 7 fluidounces Borax, powder 60 grains Coumarin J grain Oil of bergamot 24 drops Oil of rose 6 drops Oil of bitter almonds .... 8 drops Tincture of am- bergris 5 drops Melt the spermaceti and wax, add the sweet almond oil, incorporate the water in which the borax has previously been dissolved, and finally add the oils of ber- gamot, rose, and bitter almond. XI. — Honey 2 av. ounces Castile s o a p , white powder 1 av. ounce Oil sweet al- monds 26 fluidounces Oil bitter al- monds 1 fluidrachm Oil bergamot. . J fluidrachm Oil cloves .... 15 drops Peru balsam. . . 1 fluidrachm Liquor potassa. Solution carmine, of each suffi- cient. Mix the honey with the soap in a mor- tar, and add enough liquor potassa (about 1 fluidrachm) to produce a nice cream. Mix the volatile oils and balsam with the sweet almond oil, mix this with the cream, and continue the trituration until thoroughly mixed. Finally add, if desired, enough carmine solution to impart a rose tint. XII. —White wax 800 parts Spermaceti 800 parts Sweet almond oil 5,600 parts Distilled water. . 2,800 parts Borax 50 parts Bergamot oil . . . 20 parts Attar of rose 5 parts Coumarin 0.1 part Add for each pound of the cream 5 drops of etheric oil of bitter almonds, and^S drops tincture of ambra. Proceed as in making cold cream. The following also makes a fine cream: XIII. — Spermaceti 3 parts White wax 2 parts Oil of almonds, fresh 12 parts Rose water, double 1 part Glycerine, pure. . . 1 part Melt on a water bath the spermaceti and wax, add the oil (which should be fresh), and pour the whole into a slightly warmed mortar, under constant and lively stirring, to prevent granulation. Con- tinue the trituration until the mass has a white, creamy appearance, and is about the consistence of butter at ordi- nary temperature. Add, little by little, under constant stirring, the orange- flower water and glycerine mixed, and flnally the perfume as before. Con- tinue the stirring for 15 or 20 minutes, then immediately put into containers. Chappine Cream. — Quince seed 2 drachms Glycerine 1 J ounces Water 1 j ounces Lead acetate. ....... 10 grains Flavoring, sufficient. Macerate the quince seed in water, strain, add the glycerine and lead ace- tate, previously dissolved in sufficient water; flavor with jockey club or orange essence. Cucumber Creams. — I. — White wax 3 ounces Spermaceti 3 ounces Benzoinatedlard. ... 8 ounces Cucumbers 3 ounces Melt together the wax, spermaceti, and lard, and infuse in the liquid the cucum- bers previously grated. Allow to cool, stirring well; let stand a day, remelt, strain and again stir the "cream" until cold. II. — Benzoinatedlard. ... 5 ounces Suet 3 ounces Cucumber juice 10 ounces Proceed as in making cold cream. Glycerine Creams. — I. — Oil of sweet al- monds 100 parts White wax 13 parts Glycerine, pure 25 parts Add a sufficient quantity of any suitable perfume. Melt, on the water bath, the oil, wax, and glycerine together, remove and as the mass cools down add the perfume in sufficient quantity to make a creamy mass. 238 COSMETICS II. — Quince seed 1 ounce Boric acid 16 grains Starch 1 ounce Glycerine 16 ounces Carbolic acid 30 minims Alcohol 12 ounces Oil of lavender 30 minims Oil of rose 10 drops Ertract of white rose 1 ounce Water enough to make 64 ounces Dissolve the boric acid in a quart of water and in this solution macerate the quince seed for 3 hours; then strain. Heat together the starch and the glycer- ine until the starch granules are broken, and mix with this the carbolic acid. Dissolve the oils and the extract of rose in the alcohol, and add to the quince- sfted mucilage; then mix all together, strain, and add water enough to make the product weigh 64 ounces. III. — Glycerine 1 ounce Borax 2 drachms Boracic acid 1 drachm Oil rose geranium . . 30 drops Oil bitter almond .. . 15 drops Milk 1 gallon Heat the milk until it curdles and allow it to stand 12 hours. Strain it through cheese cloth and allow it to stand again for 12 hours. Mix in the salts and glycerine and triturate in a mortar, finally adding the odors and coloring if wanted. The curdled milk must be entirely free from water to avoid separation. If the milk will not curdle fast enough the addition of 1 ounce of water ajnmonia to a gallon will hasten it. Take a gallon of milk, add 1 ounce am- monia water, heat (not boil), allow to stand 24 hours, and no trouble will be found in forming a good base for the cream. IV. — This is offered as a substitute for cucumber cream for toilet uses. Melt 15 parts, hy weight, of gelatin in hot water containing 16 parts, by weight, of boracic acid as well as 150 parts, by weight, of glycerine; the total amount of water used should not exceed 300 parts, by weight. It may be perfumed or not. Lanolin Creams. — I. — Anhydrous lanolin. 660 parts Peach-kernel oil. . . 200 parts Water 160 parts Perfume with about 15 drops of ionone or 20 drops of synthetic ylang- ylang. II. — Lanolin 40 parts Olive oil 15 parts ParaflSne ointment. . 10 parts Agua naphse 10 parts Distilled water 15 parts Glycerine 5 parts Boric acid 4 parts Borax 4 parts Geranium oil, sufficient. Extract, triple, of ylang-ylang, quantity sufficient. HI. — Anhydrous lanolin. 650 drachms Almond oil 200 drachms Water 150 drachms Oil of ylang-ylang . 5 drops Preparations which have been intro- duced years ago for the care of the skin and complexion are the glycerine gelees, which have the advantage over lanolin that they go further, but present the drawback of not being so quickly ab- sorbed by the skin. These products are filled either into glasses or into tubes. The latter way is preferable and is more and more adopted, owing to the conven- ience of handling. A good recipe for such a gelee is the following: Moisten white tragacanth powder, 60 parts, with glycerine, 200 parts, and spirit of wine, 100 parts, and shake with a suit- able amount of perfume; then quickly mix and shake with warm distilled water, 660 parts. A transparent slime will form imme- diately which can be drawn off at once. Mucilage Creams. — I. — Starch 30 parts Carrageen mucilage. 480 parts Boric acid 15 parts Glycerine 240 parts Cologne water 240 parts Boil the starch in the carrageen muci- lage, add the boric acid and the glycer- ine. Let cool, and add the cologne water. II. — Linseed mucilage. . . 240 parts Boric acid 2 parts • Salicylic acid 1.3 parts Glycerine 60 parts Cologne water 120 parts Rose water 120 parts Instead of the cologne water any ex- tracts inay be used. Lilac and ylang- ylang are recommended. Witch-Hazel Creams. — I. — Quince seed 90 grains Boric acid 8 grains Glycerine 4 fluidounces Alcohol 6 fluidounces Carbolic acid 6 drachms Cologne water .... 4 fluidounces Oil lavender flow- ers 40 drops COSMETICS 239 Glycerite starch ... 4 av. ounces Distilled witch-hazel extract enough to make 32 fluidounces Dissolve the boric acid in 16 ounces of the witch-hazel extract, macerate the quince seed in the solution for 3 hours, strain, add the glycerine, carbolic acid, and glycerite, and mix well. Mix the alcohol, cologne water, lavender oil, and mucilages, incorporate with the previous mixture, and add enough witch-hazel extract to bring to the measure of 32 fluidounces. II. — Quince seed 4 ounces Hot water 16 ounces Glycerine 32 ounces Witch-hazel water . . 128 ounces Boric acid 6 ounces Rose extract 2 ounces Violet extract 1 ounce Macerate the quince seed in the hot water; add the glycerine and witch-hazel, in which the boric acid has been pre- viously dissolved; let the mixture stand for 2 days, stirring occasionally; strain and add the perfume. Skin Cream for Collapsible Tubes. — I. — White vaseline 6 ounces White wax 1 ounce Spermaceti 5 drachms Subchloride bismuth 6 drachms Attar of rose 6 minims Oil of bitter almonds 1 minim Recfified spirit i ounce Melt the vaseline, wax, and sperma- ceti together, and while cooling incor- porate the subchloride of bismuth (in warm mortar). Dissolve the oils in the alcohol, and add to the fatty mixture, stirring all until uniform and cold. In cold weather the quantities of wax and spermaceti may be reduced. II.— Lanolin 1 ounce Almond oil 1 ounce Oleate of zinc (pow- der) 3 drachms Extract of white rose 1 J drachms Glycerine 2 drachms Rose water 2 drachms Face Cream Without Grease. — Quince seed 10 parts Boiling water 1,000 parts Borax 5 parts Boric acid 5 parts Glycerine 100 parts Alcohol, 94 per cent. 125 i)arts Attar of rose, quantity sufficient to perfume. Macerate the quince seed in half of the boiling water, with frequent agita- tions, for 2 hours and 30 minutes, then strain off. In the residue of the boiling water dissolve the borax and boric acid, add the glycerine and the perfume, the latter dissolved in the alcohol. Now add, little by little, the colate of quince seed, under constant agitation, which should be kept up for 5 minutes after the last portion of the colate is added. TOILET MILKS: Cucumber Milk. — Simple cerate 2 pounds Powdered borax 11 J ounces Powdered castile soap 10 ounces Glycerine 26 ounces Alcohol 24 ounces Cucumber juice 32 ounces Water to 5 gallons lonone 1 drachm Jasmine J drachm Neroli J drachm. Rhodinol 15 minims To the melted cerate in a hot water bath add the soap and stir well, keeping up the heat until perfectly mixed. Add 8 ounces of borax to 1 gallon of boiling water, and pour gradually into the hot melted soap and cerate; add the re- mainder of the borax and hot water, then the heated juice and glycerine, and lastly the alcohol. Shake well while cooling, set aside for 48 hours, and siphon off any water that may separate. Snake well, and repeat after standing again if necessary; then perfume. Cucumber Juice.— It is well to make a large quantity, as it keeps indefinitely. Washed unpeeled cucumbers are grated and pressed; the juice is heated, skimmed and boiled for 5 minutes, then cooled and filtered. Add 1 part of alcohol to 2 parts of juice, let stand for 12 hours or more, and filter until clear. Glycerine Milk. — Glycerine 1,150 parts Starch, powdered. . 160 parts Distilled water 400 parts Tincture of benzoin 20 parts Rub up 80 parts of the starch with the glycerine, then put the mixture on the steam bath and heat, under continuous stirring, until it forms a jellylike mass. Remove from the bath and stir in the remainder of the starch. Finally, add the water and tincture and stir till homo- geneous. Lanolin Toilet Milk.— White castile soap, powdered 22 grains Lanolin 1 ounce Tincture benzoin .... 12 drachms Water, enough. 240 COSMETICS Dissolve the soap in 2 fluidounces of warm water, also mix the lanolin with 2 fluidounces of warm water; then in- corporate the two with each other, finjuly adding the tincture. The latter may be replaced by 90 grains of pow- dered borax. Jasmine Milk. — To 25 parts of water add gradually, with constant stirring, 1 part of zinc white, 2 quarts of grain spirit, and 0.15 to 0.25 part of glycerine; finally stir in 0.07 to 0.10 part of jasmine essence. Filter the mixture and fill into glass bottles. For use as a cosmetic, rub on the raspberry paste on retiring at night, and in the morning use the jas- mine milk to remove the paste from the skin. The two work together in their efifect. SUNBURN AND FRECKLE REME- DIES. I. — Apply over the affected skin a solution of corrosive sublimate, 1 in 500, or, if the patient can stand it, 1 in 300, morning and evening, and for the night apply emplastrum hydrargyri com- positum to the spots. In the morning remove the plaster and all remnants of it by rubbing fresh butter or cold cream over the spots. For redness of the skin apply each other day zinc oxide ointment or oint- ment of bismuth subnitrate. II. — Besnier recommends removal of the mercurial ointment with green soap, and the use, at night, of an ointment composed of vaseline and Vigo's plaster (emplastrum hydrargyri compositum), in equal parts. In the morning wash off with soap and warm water, and apply the following: Vaseline, white 20 parts Bismuth carbonate ... 5 parts Kaolin 5 parts Mix, and make an ointment. III.— Leloir has found the following of service. Clean the affected part with green soap or with alcohol, and then ap- ply several coats of the following: Acid chrysophanic . . 15 parts Chloroform 100 parts Mix. Apply with a camel's-hair pencil. When the application dries thoroughly, o over it with a laj^er of traumaticine. This application will loosen itself in several days, when the process should be repeated. IV. — When the skin is only slightly discolored use a pomade of salicylic acid, or apply the following: ¥ Acid chrysophanic, from 1 to 4 parts Acid salicylic 1 to 2 parts Collodion 40 parts V. — When there is need for a more complicated treatment, the following is used: (a) Corrosive sublimate 1 part Orange- flower water 7,500 parts Acid, hydrochloric, dilute 500 parts (6) Bitter almonds. . . . 4,500 parts Glycerine 2,500 parts Orange-flower water 25,000 parts Rub up to an emulsion in a porcelain capsule. Filter and add, drop by drop, and under constant stirring, 5 grams of tincture of benzoin. Finally mix the two solutions, adding the second to the flrst. This preparation is applied with a sponge, on retiring, to the affected places, and allowed to dry on. VI. — According to Brocq the follow- ing should be penciled over the affected spots: Fresh pure milk 50 parts Glycerine 30 parts Acid, hydrochloric, concentrated 6 parts Ammonium chlorate. 3 parts VII. — Other external remedies that may be used are lactic acid diluted with 3 volumes of water, applied with a glass rod; dilute nitric acid, and, finally, per- oxide of hydrogen, which last is a very powerful agent. Should it cause too much inflammation, the latter may be assuaged by using an ointment of zinc oxide or bismuth subnitrate — or one may use the following: Kaolin 4 parts Vaseline 10 parts Glycerine 4 parts Magnesium carbonate 2 parts Zinc oxide 2 parts Freckle Remedies. — I.— Poppy oil 1 part Lead acetate 2 parts Tincture benzoin. ... 1 part Tincture quillaia. ... 5 parts Spirit nitrous ether. . . 1 part Rose water 95 parts Saponify the oil with the lead acetate; add the rose water, and follow with the tinctures. II.— Chloral hydrate 2 drachms Carbolic acid 1 drachm COSMETICS Ml Tincture iodine 60 drops Glycerine 1 ounce Mix and dissolve. Apply with a camel's-hair pencil at night. III. — Distilled vinegar. . . 660 parts Lemons, cut in small pieces 135 parts Alcohol, 85 per cent 88 parts Lavender oil 23 parts Water... 88 parts Citron oil 6 parts This mixture is allowed to stand for 3 or 4 days in the sun and filtered. Coat, by means of a sponge before retiring, the places of the skin where the freckles are and allow to dry. Freckles and Liver Spots. — Modern dermatological methods of treating freckles and liver spots are based partly on remedies that cause desquamation and those that depigmentate (or de- stroy or neutralize pigmentation). Both methods may be distinguished in respect to their effects and mode of using into the following: The active ingredients of the desquamative pastes are reductives which promote the formation of epithe- lium and hence expedite desquamation. There are many such methods, and especially to be mentioned is that of Unna, who uses resorcin for the purpose. Lassar makes use of a paste of naphthol and sulphur. Sunburn Remedies. — 1. — Zinc sulphocarbo- , late 1 part Glycerine 20 parts Rose water 70 parts Alcohol, 90 per cent 8 parts Cologne water. ... 1 part Spirit of camphor. 1 part n. — Borax 4 parts Potassium chlorate 2 parts Glycerine 10 parts Alcohol 4 parts Rose water to make 90 parts m. — Citric acid 2 drachms Ferrous sulphate (cryst.) 18 grains Camphor 2 grains Elder-flower water 3 fluidounces IV. — Potassium carbon- ate 3 parts Sodium chloride . . 2 parts Orange- flower water 15 parts Rose water 65 parts V. — Boroglycerine, SO percent 1 part Ointment of rose water 9' parts VI. — Sodium bicarbon- ate 1 part Ointment of rose water 7 parts VII. — Bicarbonate of soda 2 drachms Powdered borax ... 1 drachm Compound tincture of lavender 1 J drachms Glycerine 1 ounce Rose water 4 ounces Dissolve the soda and borax in the glycerine and rose water, and add the tincture. Apply with a small piece of sponge 2 or 3 times a day. Then gently dry by dabbing with a soft towel. VIII. — Quince seeds 2 drachms Distilled water. ... 10 ounces Glycerine 2 ounces Alcohol, 94 per cent 1 ounce Rose water 2 ounces Boil the seeds in the water for 10 min- utes, then strain off the liquid, and when cold add to it the glycerine, alcohol, and rose water. IX. — White soft soap .. . 2 J drachms Glycerine 1 j drachms Almond oil 11 drachms Well mix the glycerine and soap in a mortar, and very gradually add the oil, stirring constantly until perfectly mixed. X. — Subnitrate of bis- muth 1 J drachms Powdered French chalk 30 grains Glycerine 2 drachms Rose water 1 J ounces Mix the powders, and rub down care- fully with the glycerine; then add the rose water. Shake the bottle before use. XI. — Glycerine cream . . 2 drachms Jordan almonds . . 4 drachms Rose water 5 ounces Essential oil of al- monds 3 drops Blanch the almonds, and then dry and beat them up into a perfectly smooth paste; then mix in the glycerine cream and essential oil. Gradually add the rose water, stirring well after each addi- tion; then strain through muslin. Tan and Freckle Lotion. — Solution A: _ Potassium iodide, iodine, glycerine, and infusion rose. Dissolve the potassium iodide in a 242 COSMETICS small quantity of the infusion and a drachm of the glycerine; with this fluid moisten the iodine in a glass of water and rub it down, gradually adding more liquid, until complete solution has been obtained; then stir in the remainder of the ingredients, and bottle the mixture. Solution B: Sodium thiosulphate and rose water. With a small camel's-hair pencil or piece of fine sponge apply a little of solution A to the tanned or freckled surface, until a slight or tolerably uniform brownish yellow skin has been produced. At the expiration of 15 or 20 minutes moisten a piece of cambric, lint, or soft rag with B and lay it upon the affected part, re- moving, squeezing away the liquid, soaking it afresh, and again applying until the iodine stain has disappeared. Repeat the process thrice daily, but diminish the frequency of application if tenderness be produced. A Cure for Tan. — Bichloride of mer- cury, in coarse powder, 10 grains; dis- tilled water, 1 pint. Agitate the two together until a complete solution is obtained. Add J ounce of glycerine. Apply with a small sponge as often as agreeable. This is not strong enough to blister and skin the face in average cases. It may be increased or reduced in strength by adding to or taking from the amount of bichloride of mercury. Do not for- get that this last ingredient is a powerful poison and should be kept out of the reach of children and ignorant persons. Improved Carron Oil. — Superior to the old and more suitable. A desirable preparation for burns, tan, freckle, sun- burn, scalds, abrasions, or lurig affec- tions. Does not oxidize so quickly or dry up so rapidly and less liable to ran- cidity. Linseed oil 2 ounces Limewater 2 ounces Paraffine, liquid 1 ounce Mix the linseed oil and water, and add the paraffine. Shake well before using. LIVER SPOTS. I. — Corrosive s u b 1 i - mate 1 part White sugar 190 parts White of egg 34 parts Lemon juice 275 parts Water to make.. . . 2,500 parts Mix the sublimate, sugar, and albu- men intimately, then add the lemon juice and water. Dissolve, shake well, and after standing an hour, filter. Ap- ply in the morning after the usual ablu- tions, and let dry on the face. II. — Bichloride of mercury, in coarse powder, 8 grains; witch-hazel, 2 ounces; rose water, 2 ounces. Agitate until a solution is obtained. Mop over the affected parts. Keep out of the way of ignorant persons and chil- dren. TOILET POWDERS: Almond Powders for the Toilet. — I. — Almond meal .... 6,000 parts Bran meal 3,000 parts Soap powder 600 parts Bergamot oil 50 parts Lemon oil 15 parts Clove oil 15 parts Neroli oil 6 parts II. — Almond meal. . . . 7,000 parts Bran meal 2,000 parts Violet root 900 parts Borax 350 parts Bitter almond oil. 18 parts Palmarosa oil.. .. 36 parts Bergamot oil 10 parts III. — Almond meal .... 3,000 parts Bran meal 3,000 parts Wheat flour 3,000 parts Sand 100 parts Lemon oil 40 parts Bitter almond oil . 10 parts Bath Powder. — Borax 4 ounces Salicylic acid 1 drachm Extract of cassia 1 drachm Extract of jasmine. .. 1 drachm Oil of lavender 20 minims Rub the oil and extracts with the borax and salicylic acid until the alcohol has evaporated. Use a heaping teaspoonful to the body bath. Brunette or Rachelle.— Base 9 pounds Powdered Florentine orris 1 pound Perfume the same. Powdered yellow ocher. . . . (av.) 3 ounces 120 grains Carmine No. 40 60 grains Rub down the carmine and ocher with alcohol in a mortar, and spread on glass to dry; then mix and sift. Violet Poudre de Riz. — I. — Cornstarch 7 pounds Rice flour 1 pound Powdered talc 1 pound Powdered orris root. . 1 pound Extract of cassia 3 ounces Extract of jasmine. . . 1 ounce COSMETICS II. — Cheaper. Potato starch 8 pounds Powdered talc 1 pound Powdered orris 1 pound Extract of cassia 3 ounces Barber's Powder. — Cornstarch 5 pounds Precipitated chalk. . . 3 pounds Powdered talc 2 pounds Oil of neroli 1 drachm Oil of cedrat 1 drachm Oil of orange 2 drachms Extract of jasmine. . . 1 ounce Rose Poudre de Riz. — I. — Cornstarch 9 pounds Powdered talc 1 pound Oil of rose IJ drachms Extract of jasmine. . . 6 drachms II. — Potato starch 9 pounds Powdered talc 1 pound Oil of rose ^ drachm Extract of jasmine. . . j ounce Ideal Cosmetic Powder. — The follow- ing combines the best qualities that a powder for the skin should have: Zinc, white 50 parts Calcium carbonate, precipitated 300 parts Steatite, best white. . SO parts Starch, wheat, or rice 100 parts Extract white rose, triple 3 parts Extract jasmine, tri- ple 3 parts Extract orange flow- er, triple . . . . . 3 parts Extract of cassia, tri- ple 3 parts Tincture of myrrh. . 1 part Powder the solids and mix thoroughly by repeated siftings. , Flesh Face Powder. — Base 9 pounds Powdered Florentine orris 1 pound Carmine No. 40 250 grains Extract of jasmine . . 100 minims Oil of neroli 20 minims Vanillin 5 grains Artificial musk 30 grains White heliotropin..". 30 grains Coumarin 1 grain Rub the carmine with a portion of the base and alcohol in a mortar, mixing the perfume the same way in another large mortar, and adding the orris. Mix and sift all until specks of carmine disappear on rubbing. White Face Powder. — Base 9 pounds Powdered Florentine orris 1 pounc. Perfume the same. Mix and sift. Talcum Powders. — Talc, when us;d as a toilet powder should be in a state of very fine division. Antiseptics are some- times added in small proportion, but these are presumably of little or no value in the quantity allowable, and may prove irritating. For general use, at all events, the talcum alone is the best and the safest. As a perfume, rose oil may be employed, but on account of its cost, rose geranium oil is probably more frequently used. A satisfactory propor- tion is J drachm of the oil to a pound of the powder. In order that the per- fume may be thoroughly disseminated throughout the powder, the oil should be triturated first with a small portion of it; this should then be further triturated with a larger portion, and, if the quan- tity operated on be large, the final mix- ing may be effected by sifting. Many odors besides that of rose would be suit- able for a toilet powder. Ylang-ylang would doubtless prove very attractive, but expensive. The following formulas for other va- rieties of the powder may prove useful: Violet Talc— I. — Powdered talc 14 ounces Powdered orris root. 2 ounces Extract of cassia .... J ounce Extract of jasmine . . j ounce Rose Talc — II. — Powdered talc 5 pounds Oil of rose J drachm Extract of jasmine 4 ounces Tea-Rose Talc — III. — Powdered talc 6 pounds Oil of rose 50 drops Oil of wintergreen . . 4 drops Extract of jasmine. . 2 ounces Borated Apple Blossom. — IV. — Powdered talc . ; . . . 22 pounds Magnesium carbon- ate 2} pounds Powdered boric acid 1 pound Mix. Carnation pink blos- som (Schimmel's) 2 ounces Extract of trefle. .'. . 2 drachms To 12 drachms of this mixture add: Neroli 1 drachm Vanillin J drachm Alcohol to 3 ounces SufBcient for 25 pounds. 244 COSMETICS V. — Talcum 8 ounces Starch 8 ounces Oil of neroli 10 drops Oil of ylang-ylang. 5 drops VI. — Talcum 12 ounces Starch 4 ounces Orris root 2 ounces Oilof bergamot. . . . 12 drops VII. — Talcum 14 ounces Starch 2 ounces Lanolin i ounce Oil of rose 10 drops Oil of neroli 5 drops TOILET VINEGARS: Pumillo Toilet Vinegar. — Alcohol, 80 per cent 1,600 parts Vinegar, 10 per cent 840 parts Oil of pinu spumillo 44 parts Oil of lavender 4 parts Oil of lemon 2 parts Oil of bergamot. ... 2 parts Dissolve the oils in the alcohol, add the vinegar, let stand for a week and filter. Vinaigre Rouge. — Acetic acid 24 parts Alum 3 parts Peru balsam 1 part Carmine, No. 40. . . 12 parts Ammonia water ... 6 parts Rose water, dis- tilled 575 parts Alcohol 1,250 parts Dissolve the balsam of Peru in the alcohol, and the alum in the rose water. Mix the two solutions, add the acetic acid, and let stand overnight. Dis- solve the carmine in the ammonia water and add to mixture. Shake thoroughly, let stand for a few minutes, then decant. TOILET WATERS: " Beauty Water."— Fresh egg albumen. . 500 parts Alcohol 125 parts Lemon oil 2 parts Lavender oil 2 parts Oil of thyme 2 parts Mix the ingredients well together. When first mixed the liquid becomes flocculent, but after standing for 2 or 3 days clears up — sometimes becomes perfectly clear, and may be decanted. It forms a light, amber-colored liquid that remains clear for months. At night, before retiring, pour about a teaspoonful of the water in the palm of the hand, and rub it over the face and neck, letting it dry on. In the morning, about an hour before the bath, repeat the oper- ation, also letting the liquid dry on the skin. The regular use of this prepara- tion for 4 weeks will give the skin an extraordinary fineness, clearness, and freshness. v Rottmanner's Beauty Water.— Koller says that this preparation consists of 1 part of camphor, 5 parts of milk of sul- phur, and 50 parts of rose water. Birch Waters. — Birch water, which has many cosmetic applications, espe- cially as a hair wash, or an ingredient in hair washes, may be prepared as follows: I. — Alcohol, 96 per cent 3,600 parts Water 700 parts Potash soap 200 parts Glycerine 150 parts Oil of birch buds. . . 50 parts Essence of spring flowers 100 parts Chlorophyll, quantity sufficient to color. Mix the water with 700 parts of the alcohol, and in the mixture dissolve the soap. Add the essence of spring flowers and birch oil to the remainder of the alcohol, mix well, and to the mixture add, little by little, and with constant agitation, the soap mixture. Finally, add the glyc- erine, mix thoroughly, and set aside for 8 days, filter and color the filtrate with chlorophyll, to which is added a little tincture of saffron. To use, add an equal volume of water to produce a lather. II. — Alcohol, 96 per cent 2,000 parts Water 500 parts Tincture of can- tharides 25 parts Salicylic acid 25 parts Glycerine 100 parts Oil of birch buds . 40 parts Bergamot oil 30 parts Geranium oil 5 parts Dissolve the oils in the alcohol, add the acid and tincture of cantharides; mix the water and glycerine and add, and, finally, color as before. III. — Alcohol 30,000 parts Birch juice 3,000 parts Glycerine 1,000 parts Bergamot oil 90 parts Vanillin 10 parts Geranium oil. ... 50 parts Water 14,000 parts IV.— Alcohol 40,000 parts Oil of birch 150 parts Bergamot oil 100 parts Lemon oil 60 parts COTTON MS Palmarosa oil. . . 100 parts Glycerine 2,000 parts Borax 150 parts Water 20,000 parts Violet Ammonia Water. — Most prep- arations of this character consist of either coarsely powdered ammonium carbonate, with or without the addition of ammonia water, or of a coarsely pow- dered mixture, which slowly evolves the odor of ammonia, the whole being per- fumed by the addition of volatile oil, pomade essences, or handkerchief ex- tract. The following are typical for- mulas: I. — Moisten coarsely powdered am- monium carbonate, contained in a suit- able bottle, with a mixture of concen- trated tincture of orris root, 2 J ounces; aromatic spirit of ammonia, 1 drachm; violet extract, 3 drachms. II. — Fill suitable bottles with coarsely powdered ammonium carbonate and add to the salt as much of the following solu- tion as it will absorb: Oil of orris, 6 minims; oil of lavender flowers, 10 minims; violet extract, 30 minims; stronger water of ammonia, 2 fluid- ounces. III. — The following is a formula for a liquid preparation: Extract violet, 8 fluidrachms; extract cassia, 8 fluidrachms; spirit of rose, 4 fluidrachms; tincture of orris, 4 fluidrachms ; cologne spirit, 1 pint; spirit of ammonia, 1 ounce. Spirit of ionone may be used instead of extract of violet. Violet Witch-Hazel.— Spirit of ionone J drachm Rose water 6 ounces Distilled extract o f witch-hazel enough to make 16 ounces Cotton BLEACHING OF COTTON: I. — Bleaching by Steaming. — The singed and washed cotton goods are passed through hydrochloric acid of 2° Be. Leave them in heaps during 1 hour, wash, pass through sodium hypo- chlorite of 10° Be. diluted with 10 times the volume of water. Let the pieces lie in heaps for 1 hour, wash, pass through caustic soda lye of 38° Be. diluted with 8 times its volume of water, steam, put again through sodium chloride, wash, acidulate slightly with hydrochloric acid, wash and dry. Should the whiteness not be suflScient, repeat the operations. II. — ^Bleaching with Calcium Sulphite. — ;The cotton goods are impregnated with 1 part, by weight, of water, 1 part of caustic lime, and J part of bisulphite . of 40° Be.; next steamed during 1-2 hours at a pressure of J atmosphere, washed, acidulated, washed and dried. The result is as white a fabric as by the old method with caustic lime, soda, and calcium chloride. The bisulphite may also be replaced by calcium hydrosul- phite, and, instead of steaming, the fabric may be boiled for several hours with calcium sulphite. III. — Bleaching of Vegetable Fibers with Hydrogen Peroxide.— -Pass the pieces through a, solution containing caustic soda, soap, hydrogen peroxide, and burnt magnesia. The pieces are piled in heaps on carriages; the latter are shoved into the well-known apparatus of Mather & Piatt (kier), and tne liquid is pumped on for 6 hours, at a pressure of J atmos- phere. Next wash, acidulate, wash and dry. The bleaching may also be done on an ordinary reeling vat. For 5 pieces are needed about 1,000 parts, by weight, of water; 10 parts, by weight, of solid caustic soda; 1 part of burnt mag- nesia; 30 parts, by weight, of hydrogen peroxide. After 3-4 hours' boiling, wash, acidulate, wash and dry. The bleaching may also be performed by passing through barium peroxide, then througn sulphuric acid or hydrochloric acid, and next through soda lye. It is f)racticable also to commence with the after and finally give a treatment with hydrogen peroxide. The whiteness obtained by the above process is handsomer than that produced by the old method with hypochlorites, and the fabric is weakened to a less ex- tent. TESTS FOR COTTON. I. — Cotton, when freed from extrane- ous matter by boiling with potash, and afterwards with hydrochloric acid, yields pure cellulose or absorbent cotton, which, according to the U. S. P., is soluble in copper ammonium sulphate solution. The B. P. is more specific and states that cotton is soluble in a concentrated solution of copper ammonium sulphate. The standard test solution (B. P.) is made by dissolving 10 parts of copper sulphate in 160 parts of distilled water, and cautiouslv adding solution of am- monia to the liquid until the precipitate first formed is nearly dissolved. The product is then filtered and the filtrate made up to 200 parts with distilled 246 COTTON— COUGH MIXTURES water. The concentrated solution is prepared by using a smaller quantity of distilled water. II. — Schweitzer's reagent for textile fibers and cellulose is made by dissolving 10 parts of copper sulphate in 100 parts of water and adding a solution of 5 parts of potassium hydrate in 50 parts of water; then wash the precipitate and dissolve in 20 per cent ammonia until saturated. This solution dissolves cotton, linen, and silk, but not wool. The reagent is said to be especially useful in microscopy, as it rapidly dissolves cellulose, but has no action on lignin. III.— Jandrier's Test for Cotton in Woolen Fabrics. — Wash the sample of fabric and treat with sulphuric acid (20 Be.) for half an hour on the water bath. To 100 to 200 parts of this solu- tion add 1 part resorcin, and overlay on concentrated sulphuric acid free from nitrous products. The heat developed is sufficient to give a color at the contact point of the liquids, but intensity of color may be increased by slightly heating. If the product resulting from treating the cotton is made up 1 in 1,000, resorcin will give an orange color; alphanaphtol a purple; gallic acid a green gradually becoming violet down in the acid; hydro- quinone or pyrogallol a brown; morphine or codeine, a lavender; thymol or menthol a pink. Cotton may be detected in colored goods, using boneblack to de- colorize the solution, if necessary. IV. — Overbeck's test for cotton in woolen consists in soaking the fabric in an aqueous solution of alloxantine (1 in 10), and after drying expose to ammonia vapor and rinse in water. Woolen ma- I terial is colored crimson, cotton remains blue. V. — Liebermann's Test. — Dye the fab- ric for half an hour in fuchsine solution rendered light yellow by caustic soda solution and then washed with water — silk is colored dark red; wool, light red; flax, pink; and cotton remains colorless. To Distinguish Cotton from Linen. — Take a sample about an inch and a half square of tne cloth to be tested and plunge it into a tepid alcoholic solution of cyanine. After the coloring matter has been absorbed by the fiber, rinse it in water and then plunge into dilute sul- phuric acid. If it is of cotton the sam- ple will be almost completely bleached, while linen preserves the blue color al- most unchanged. If the sample be then plunged in ammonia, the blue will be strongly reinforced. Aromatic Cotton. — Aromatic cotton is produced as follows : Mix camphor, 5 parts; pine-leaf oil, 5 parts; clove oil, 5 parts; spirit of wine (90 per cent), 80 parts; and distribute evenly on cotton, 500 parts, by means of an atomieer. The cotton is left pressed together in a tightly closed tin vessel for a few days. Cotton Degreasing. — Cotton waste, in a greasy condition, is placed in an acid- proof apparatus, where it is simulta- neously freed from grease, etc., and pre- pared for bleaching by the following process, which is perfoimed without the waste being removed from the appara- tus: (1) treatment with a solvent, such as benzine; (2) steaming, for the purpose of vaporizing and expelling from the cotton waste the solvent still remaining in it after as much as possible of this has been recovered by draining; (3) treatment with a mineral acid; (4) boiling with an alkali lye; (5) washing with water. COTTONSEED HULLS AS STOCK FOOD. Cottonseed hulls or other material containing fiber difficult of digestion are thoroughly mixed with about 5 per cent of their weight of hydrochloric acid (spe- cific gravity, 1.16), and heated in a closed vessel, provided with a stirrer, to a temperature of 212° to 300° F. The amount of acid to be added depends on the material employed and on the dura- tion of the heating. By heating for 30 minutes the above percentage of acid is required, but the quantity may be re- duced if the heating is prolonged. After heating, the substance is ground and at the same time mixed with some basic substances such as sodium carbonate, chalk, cottonseed kernel meal, etc., to neutralize the acid. During the heating, the acid vapors coming from the mixture may be led into a second quantity of inaterial contained in a separate vessel, air being drawn through both vessels to facilitate the removal of the acid vapors. COTTONSEED OIL: See Oil. COTTONSEED OIL IN FOOD, TESTS FOR: See Foods. COTTONSEED OIL IN LARD, DETEC- TION OF: See Foods and Lard. COUGH CANDY: See Confectionery. COUGH MIXTURES FOR CATTLE: See Veterinary Formulas. COURT PLASTERS— CREAM 247 COUGH MIXTURES AND REMEDIES: See Cold and Cough Mixtures. Court Plasters (See also Plasters.) Liquid Court Plaster. — I. — If soluble guncotton is dissolved in acetone in the proportion of about 1 part, by weight, of the former to 35 or 40 parts, by volume, of the latter, and half a part each of castor oil and glycerine be added, a colorless, elastic, and flexible film will form on the skin wherever it is applied. Unlike ordinary collodion it will not be likely to dry and peel off. If tinted very slightly with alkanet and saffron it can he made to assume the color of the skin so that when applied it is scarcely ob- servable. A mixture of warm solution of sodium silicate and casein, about 9 parts of the former to 1 part of the latter, gelatinizes and forms a sort of liquid court plaster. II. — In order to make liquid court plaster flexible, collodion, U. S. P., is the best liquid that can possibly be recommended. It may be made by weighing successively into a tarred bottle: Collodion 4 av. ounces Canada turpentine. . 95 grains Castor oil 57 grains Before applying, the skin should be perfectly dry; each application or layer should be permitted to harden. Three or four coats are usually sufEcient. III. — Procure an ounce bottle and fill it three-fourths full of flexible collodion, and fill up with ether. Apply to cuts, bruises, etc., and it protects them and will not wash off. If the ether evaporates, leaving it too thick for use, have more ether put in to liquefy it. It is a good thing to have in the house and in the tool chest. COW DISEASES AND THEIR REM- EDIES: See Veterinary Formulas. CRAYONS: See Pencils. CRAYONS FOR GRAINING AND MAR- BLING. Heat 4 parts of water and 1 part of white wax over a fire until the wax has completely dissolved. Stir in 1 part of purified potash. When an intimate combination has taken place, allow to cool and add a proportionate quantity of gum arable. With this mixture the desired colors are ground thick enough so that they can be conveniently rolled into a pencil with chalk. The desired shades must be composed on the grind- ing slab as they are wanted,' and must not be simply left in their natural tone. Use, for instance, umber, Vandyke brown, and white lead for oak; umber alone would be too dark for walnut use. All the earth colors can be conveniently worked up. It is best to prepare 2 or 3 crayons of each set, mixing the first a little lighter by the addition of white lead and leaving the others a little darker. The pencils should be kept in a dry place and are more suitable for graining and marbling than brushes, since they can be used with either oil or water. CRAYONS FOR WRITING ON GLASS: See Etching, and Glass. Cream (See also Milk.) Whipped Cream. — There are many ways to whip cream. The following is very highly indorsed: Keep the cream on ice until ready to whip. Take 2 earthen vessels about 6 inches in diam- eter. Into 1 bowl put 1 pint of rich sweet cream, 2 teaspoonfuls powdered sugar, and 5 drops of best vanilla ex- tract. Add the white of 1 egg and beat with large egg beater or use whipping apparatus until 2 inches of froth has formed; skim off the froth into the other vessel and so proceed whipping and skimming until all the cream in the first vessel has been exhausted. The whipped cream will stand up all day and should be let stand in the vessel on ice. Special machines have been constructed for whipping cream, but most dispensers prepare it with an ordinary egg Deater. Genuine whipped cream is nothing other than pure cream into which air has been forced by the action of the different ap- paratus manufactured for the purpose; care must, however, be exercised in order that butter is not produced in- stead of whipped cream. To avoid this the temperature of the cream must be kept at a low degree and the whipping must not be too violent or prolonged; hence the following rules must be ob- served in order to produce the desired result: 248 CREAM— CRYSTAL CEMENTS 1. Secure pure cream and as fresh as possible. 2. Surround the bowl in which the cream is being whipped with cracked ice, and perform the operation in a cool place. 3. As rapidly as the whipped cream arises, skim it off and place it in another bowl, likewise surrounded with ice. 4. Do not whip the cream too long or too violently. 5. The downward motion of the beater should be more forcible than the upward, as the first has a tendency to force the air into the cream, while the second, on the contrary, tends to expel it. 6. A little powdered sugar should be added to the cream after it is whipped, in order to sweeten it. 7. Make whipped cream in small quantities and keep it on ice. I. — Cummins's Whipped Cream. — Place 12 ounces of rich cream on the ice for about 1 hour; then with a whipper beat to a consistency that will withstand its own weight. II.— Eberle's Whipped Cream.— Take a pint of fresh, sweet cream, which has been chilled by being placed on the ice, add to it a heaping tablespoonful of pow- dered sugar and 2 ounces of a solution of gelatin (a spoonful dissolved in 2 ounces of watei'), whip slowly for a minute or two until a heavy froth gathers on top. Skim off the dense froth, and f)ut in container for counter use; con- tinue this until you have frothed all that is possible. III.— Foy's Whipped Cream.— Use only pure cream; have it ice cold, and in a convenient dish for whipping with a wire whipper. A clear, easy, quick, and convenient way is to use a beater. Fill about one-half full of cream, and beat vigorously for 2 or 3 minutes; a little pow- dered sugar may be added before beat- ing. The cream may be left in the beater, and placed on ice. IV. — American Soda Fountain Com- pany's Whipped Cream.— Take 2 earthen bowls and 2 tin pans, each 6 or 8 inches greater in diameter than the bowls; place a bowl in each pan, surround it with broken ice, put the cream to be whipped in 1 bowl, and whip it with a whipped cream churn. The cream should be pure and rich, and neither sugar nor gelatin should be added to it. As the whipped cream rises and fills the bowl, remove the churn, and skim off the whipped cream into the other bowl. The philosophy of the process is that the churn drives air into the cream, and blows an infinity of tiny bubbles, which forms the whipped cream; therefore, in churning, raise the dasher gently and slowly, and bring it down quickly and forcibly. When the second bowl is full of whipped cream, pour off the liquid cream, which has settled to the bottom, into the first bowl, and whip it again. Keep the whipped cream on ice. The addition of an even teaspoonful of salt to 1 quart of sweet cream, before whipping, will make it whip up very readily and stiff, and stand up much longer and better. CRESOL EMULSION. One of the best starting points for the preparation is the "creosote" obtained from blast furnaces, which is rich in cresols and contains comparatively little phenols. The proportions used are: Creosote, 30 parts; soft soap, 10 parts; and solution of soda (10 per cent), 30 parts. Boil the ingredients together for an hour, then place aside to settle. The dark fluid is afterwards drained from any oily portion floating upon the top. CREAM, COLD: See Cosmetics. CREAMS FOR THE FACE AKD SKIN : See Cosmetics. CREOSOTE SOAP: See Soap. CROCKERY: See Ceramics. CROCKERY CEMENTS: See Adhesives. CROCUS. The substance known as "crocus," which is so exceedingly useful as a pol- ishing medium for steel, etc., may be very generally obtained in the cinders produced from coal containing iron. It will be easily recognized by its rusty color, and should be collected and re- duced to a powder for future use. Steel burnishers may be brought to a high state of polish with this substance by rubbing them upon a buff made of sol- diers' belt or hard wood. After this operation, the burnisher should be rubbed on a second buff charged with jewelers' rouge. CRYSTAL CEMENTS FOR REUNIT- ING BROKEN PIECES: See Adhesives, under Cements. CRYSTALLIZATION— DAMASKEENING 249 CRYSTALLIZATION, ORNAMENTAL: See Gardens, Chemical. CUCUMBER ESSENCE: See Essences and Extracts. CUCUMBER JELLY, JUICE, AND MILK: See Cosmetics. CURACOA CORDIAL: See Wines and Liquors. CURTAINS, COLORING OF: See Laundry Preparations, CURRY POWDER: See Condiments. CUSTARD POWDER: Corn flour 7 pounds Arrowroot 8 pounds Oil of almond 20 drops Oil of nutmegs 10 drops Tincture of saffron to color. Mix the tincture with a little of the mixed flours; then add the essential oils and make into a paste; dry this until it can be reduced to a powder, and then mix all the ingredients by sifting several times through a fine hair sieve. CUTLERY CEMENTS: See Adhesives. CYLINDER OIL: See Lubricants. CYMBAL METAL: See Alloys. Damaskeening Damaskeening, practiced from most ancient times, consists in ornamentally inlaying one metal with another, fol- lowed usually by polishing. Generally gold or silver is employed for inlaying. The article to be decorated by damas- keening is usually of iron (steel) or copper; in Oriental (espeicially Japan- ese) work, also frequently of bronze, which has been blackened, or, at least, darkened, so that the damaskeening is effectively set off from the ground. If the design consists of lines, the grooves are dug out with the graver in such a manner that they are wider at the bot- tom, so as to hold the metal forced in. Next, the gold or silver pieces suitably formed are laid on top and hammered in so as to fill up the opening. Finally the surface is gone over again, so that the surface of the inlay is perfectly even with the rest. If the inlays, however, are not in the form of lines, but are composed of larger pieces of certain outlines, they are sometimes allowed to project beyond the surface of the metal decorated. At times there are inlays again in the raised por- tions of another metal; thus, Japanese bronze articles often contain figures of raised gold inlaid with silver. Owing to the high value which dam- askeening imparts to articles artistic- ally decorated, manj attempts have been made to obtain similar effects in a cheaper manner. One is electro- etching, described further on. Another process for the wholesale manufacture of objects closely resembling damask- eened work is the following: By means of a steel punch, on which the decorations to be produced project in relief, the designs are stamped by means of a drop hammer or a stamping press into gold plated or silver plated sheet metal on the side which is to show the damaskeening, finally grinding off the surface, so that the sunken portions are again level. Naturally, the stamped portion, as long as the depth of the stamping is at least equal to the thick- ness of the precious metal on top, will appear inlaid. It is believed that much of the early damaskeening was done by welding to- gether iron and either a steel or an im- pure or alloyed iron, and treating the surface with a corroding acid that affect- ed the steel or alloy without changing the iron. The variety or damaskeening known as koftgari or kuft-work, practiced in India, was produced by rougn-etching a metallic surface and laying on gold-leaf, which was imbedded so that it adhered only to the etched parts of the design. Damaskeening by Electrolysis. — Dam- askeening of metallic plates may be done by electrolysis. A copper plate is covered with an isolating layer of feeble thickness, such as wax, and the desired design is scratched in it by the use of a pointed tool. The plate is sus- pended in a bath of sulphate of copper, connecting it with the positive pole of a battery, while a second copper plate is connected with the negative pole. The current etches grooves wherever the wax has been removed. When enough has 250 DAMASKEENING— DECALCOMANIA PROCESSES been eaten away, remove the plate from the bath, cleanse it with a little hydro- chloric acid to remove any traces of oxide of copper which might appear on the lines of the design; then wash it in plenty of water and place it in a bath of silver or nickel, connecting it now with the neg- ative pole, the positive pole being repre- sented hy a leaf of platinum. After a certain time the hollows are completely filled with a deposit of silver or nickel, and it only remains to polish the plate, which has the appearance of a piece damaskeened by hand. Damaskeening on Enamel Dials. — Dip the dial into molten yellow wax, trace on the dial the designs desired, penetrating down to the enamel. Dip the dial in a fluorhydric acid a, sufficient length of time that it may eat to the desired depth. Next, wash in several waters, remove the wax by means of turpentine, i. e., leave the piece covered with wax immersed in essence of turpen- tine. By filling up the hollows thus ob- tained with enamel very pretty effects are produced. DANDRUFF CURE: See Hair Preparations. DECALCOMANIA PROCESSES: See also Chromos, Copying Processes, and Transfer Processes. The decalcomania process of trans- ferring pictures requires that the print (usually in colors) be made on a spe- cially prepared paper. Prints made on decalcomania paper may be transferred in the reverse to china ware, wood, cellu- loid, metal, or anv hard smooth surface, and being varnished after transfer (or burnt in, in the case of pottery) acquire a fair degree of permanence. The origi- nal print is destroyed by the transfer. Applying Decalcomania Pictures on Ceramic Products under a Glaze. — A biscuit-baked object is first coated with a mixture of alcohol, shellac, varnish, and liquid glue. Then the prepared picture print is transferred on to this adhesive layer in the customary manner. The glaze, however, does not adhere to this coating and would, therefore, not cover the picture when fused on. To attain this, the layer bearing the transfer picture, as well as the latter, are simul- taneously coated with a dextrin solution of about 10 per cent. When this dex- trin coating is dry, the picture is glazed. The mixing proportions of the two so- lutions employed, as well as of the ad- hesive and the dextrin soliitions, vary somewhat according to the physical con- ditions of the porcelain, its porosity, etc. The following may serve for an example: Dissolve 5 parts of shellac or equivalent gum in 25 parts of spirit and emulsify this liquid with 20 parts of varnish and 8 parts of liquid glue. After drying, the glaze is put on and the ware thus pre- pared is placed in the grate fire. The process described is especially adapted for film pictures, i. c, for such as bear the picture on a cohering layer, usually consisting of collodion. It can- not be employed outright for gum pic- tures, i. e., for such pictures as are composed of different pressed surfaces, consisting mainly of gum or similar ma- terial. If this process is to be adapted to these pictures as well, the ware, which has been given the biscuit baking, is first provided with a crude glaze coat- ing, whereupon the details of the proc- ess are carried out as described above with the exception that there is another glaze coating oetween the adhesive coat and the biscuit-baked ware. In this case the article is also immediately placed in the grate fire. It is immaterial which of the two kinds of metachromatypes (transfer pictures) is used, in every case the baking in the muffle, etc., is dropped. The transfer pictures may also be pro- duced in all colors for the grate fire. Decalcomania Paper. — Smooth un- sized paper, not too thick, is coated with the following solutions: I. — Gelatin, 10 parts, dissolved in 300 parts warm water. This solution is applied with a sponge. The paper should be dried flat. II. — Starch, 60 parts; gum traga- canth, dissolved in 600 parts of water. (The gum tragacanth is soaked in 300 parts of water; in the other 300 parts the starch is boiled to a paste; the two are then poured together and boiled.) The dried paper is brushed with this paste uniformly, a fairly thick coat being ap- plied. The paper is then allowed to dry again. III.— One part blood albumen is soaked in 3 parts water for 24 hours. A small quantity of sal ammoniac is added. The paper, after having been coated with these three solutions and dried, is run through the printing press, the picr tures, however, being printed reversed so that it may appear in its true position when transferred. Any colored inks may be used. DECALCOMANIA PROCESSES— DENTIFRICES 251 IV. — A transfer paper, known as "de- calque rapide," invented by J. B. Dur- amy, consists of a paper of the kind generally used for malcing pottery trans- fers, but coated with a mixture of gum and arrowroot solutions in the propor- tion of 2 J parts of the latter to 100 of the former. The coating is applied in the ordinary manner, but the paper is only semi-glazed. Furthermore, to decorate pottery ware by means of this new trans- fer paper, there is no need to immerse the ware in a bath in order to get the paper to draw off, as it will come away when moistened with a damp sponge, after having been in position for less than 5 minutes, whereas the ordinary papers require a much longer time. Picture Transferrer. — A very weak solution of soft soap and pearlashes is used to transfer recent prints, such as illustrations from papers, magazines, etc., to unglazed paper, on the decalco- mania principle. Such a, solution is: I. — Soft soap J ounce Pearlasn 2 drachms Distilled water. .. . 16 fluidounces The print is laid upon a flat surface, such as a drawing board, and moistened with the liquid. The paper on which the reproduction is required is laid over this, and then a sheet of thicker paper placed on the top, and the whole rubbed evenly and hard with a blunt instrument, such as the bowl of a spoon, until the desired depth of color in the transferrer is obtained. Another and more artistic process is to cover the print with a trans- parent sheet of material coated with wax, to trace out the pictures with a point and to take rubbings of the same after powdering with plumbago. II. — Hard soap 1 drachm Glycerine 30 grains Alcohol 4 fluidrachms Water 1 fluidounce Dampen the printed matter with the solution by sponging, and proceed as with I. DEHORNERS: See Horn. DELTA METAL: See Alloys. DEMON BOWLS OF FIRE: See Pyrotechnics. DENTAL CEMENTS: See Cements. Dentifrices TOOTH POWDERS: A perfect tooth powder that will clean the teeth and mouth with thoroughness need contain but few ingredients and is easily made. For the base there is noth- ing better than precipitated chalk; it possesses all the detergent and polishing properties necessary for the thorough cleansing of the teeth, and it is too soft_ to do any injury to soft or to de- fective or thinly enameled teeth. This cannot be said of pumice, cuttlebone, charcoal, kieselguhr, and similar abra- dants that are used in tooth powders. Their use is reprehensible in a tooth powder. The use of pumice or other active abradant is well enough occasion- ally, by persons afflicted with a growth of tartar on the teeth, but even then it is best applied by a competent dentist. Abrading powders have much to answer for in hastening the day of the toothless race. Next in value comes soap. Powdered white castile soap is usually an ingredient of tooth powders. There is nothing so effective for removing sordes or thick- ened mucus from the gums or mouth. But used alone or in too large propor- tions, the taste is unpleasant. Orris possesses no cleansing properties, but is used for its flavor and because it is most effective for masking the taste of the soap. Sugar or saccharine may be used for sweetening, and for flavoring almost anything can be used. Flavors should, in the main, be used singly, though mixed flavors lack the clean taste of simple flavors. The most popular tooth powder sold is the white, saponaceous, wintergreen-flavored powder, and here is a formula for this type: I. — Precipitated chalk. . . 1 pound White castile soap ... 1 ounce Florentine orris 2 ounces Sugar (or saccharine, 2 grains) 1 ounce Oil of wintergreen ... J ounce The first four ingredients should be in the finest possible powder and well dried. Triturate the oil of wintergreen with part of the chalk, and mix this with the Dal- ance of the chalk. Sift each ingredient separately through a sieve (No. 80 or finer), and mix well together, afterwards sifting the mixture 5 or 6 times. The finer the sieve and the more the mixture is sifted, the finer and lighter the powder will be. DENTIFRICES This powder will cost about IS cents a pound. Pink, rose-flavored powder of the Caswell and Hazard, Hudnut, or McMahan type, once so popular in New York. It was made in two styles, with and without soap. II. — Precipitated chalk. . . 1 pound Florentine orris 2 ounces Sugar 1 J ounces White castile soap ... 1 ounce No. 40 carmine 15 grains Oil of rose 12 drops Oil of cloves 4 drops Dissolve the carmine in an ounce of water of ammonia and triturate this with part of the chalk until the chalk is uni- formly dyed. Then spread it in a thin layer on a sheet of paper and allow the ammonia to evaporate. When there is no ammoniacal odor left, mix this dyed chalk with the rest of the chalk and sift the whole several times until thor- oughly mixed. Then proceed to make up the powder as in the previous formula, first sifting each ingredient separately and then together, being careful thor- oughly to triturate the oils of rose and cloves with the orris after it is sifted and before it is added to the other powders. The oil of cloves is used to bacK up the oil of rose. It strengthens and accen- tuates the rose odor. Be careful not to get a drop too much, or it will predomi- nate over the rose. Violet Tooth Powder.— Precipitated chalk 1 pound Florentine orris 4 ounces Castile soap 1 ounce Sugar IJ ounces Extract of violet | ounce Evergreen coloring, R. & F., quan- tity sufficient. Proceed as in the second formula, dye- ing the chalk with the evergreen coloring to the desired shade before mixing. III. — Precipitated chalk. 16 pounds Powdered orris .... 4 pounds Powdered cuttlefish bone 2 pounds Ultramarine 9 J ounces Geranium lake. .. . 340 grains Jasmine 110 minims Oil of neroli 110 minims Oil of bitter al- monds 35 minims Vanillin 50 grains Artificial musk (Lautier's) 60 grains Saccharine 140 grains Rub up the perfumes with 2 ounces of alcohol, dissolve the saccharine in warm water, add all to the orris, and set aside to dry. Rub the colors up with water and some chalk, and when dry pass all through a mixer and sifter twice to bring out the color. Camphorated and Carbolated Powders. — A camphorated tooth powder may be made by leaving out the oil of winter- green in the first formula and adding IJ ounces of powdered camphor. Carbolated tooth powder may like- wise be made with the first formula by substituting 2 drachms of. liquefied car- bolic acid for the oil of wintergreen. But the tooth powder gradually loses the odor and taste of the acid. ' It is not of much utility anyway, as the castile soap In the powder is of far greater antiseptic power than the small amount of carbolic acid that can safely be combined in a tooth powder. Soap is one of the best antiseptics. Alkaline salts, borax, sodium bicar- bonate, etc., are superfluous in a powder already containing soap. The only use- ful purpose they might serve is to correct acidity of the mouth, and that end can be reached much better by rinsing the mouth with a solution of sodium bicar- bonate. Acids have no place in tooth powders, the French Codex to the con- trary notwithstanding. Peppermint as a Flavor. — In Prance and all over Europe peppermint is the popular flavor, as wintergreen is in this country. English apothecaries use sugar of milk and heavy calcined magnesia in many of their tooth powders. Neither has any E articular virtue as a tooth cleanser, but oth are harmless. Cane sugar is pref- erable to milk sugar as a sweetener, and saccharine is more efiicient, though ob- jected to by some; it should be used in the proportion of 2 to 5 grains to the pound of powder, and great care taken to have it thoroughly distributed throughout. An antisei)tic_ tooth powder, containing the antiseptic ingredients of listerine, is popular in some localities. IV. — Precipitated chalk . . 1 pound Castile soap 5 drachms Borax 3 drachms Thymol 20 grains Menthol 20 grains Eucalyptol 20 grains Oil of wintergreen . . 20 grains Alcohol J ounce Dissolve the thymol and oils in the alcohol, and triturate with the chalk, and proceed as in the first formula. DENTIFRICES 253 One fault with this powder is the dis- agreeable taste of the thymol. This may be omitted and the oil of winter- green increased to the improvement of the taste, but with some loss of antisep- tic power. Antiseptic Powder. — V. — Boric acid SO parts Salicylic acid 50 parts Dragon's blood. . . 20 parts Calcium carbon- ate 1,000 parts Essence spearmint. 12 parts _ Reduce the dragon's blood and cal- cium carbonate to the finest powder, and mix the ingredients thoroughly. The powder should be used twice a day, or even oftener, in bad cases. It is es- pecially recommended in cases where the enamel has become eroded from the effects of iron. Menthol Tooth Powder. — Menthol leaves a cool and pleasant sensation in the mouth, and is excellent for fetid breath. It may be added to most for- mulas by taking an equal (quantity of oil of wintergreen and dissolving in alcohol. Menthol 1 part Salol 8 parts Soap, grated fine. ... 20 parts Calcium carbonate. . 20 parts Magnesia carbonate 60 parts Essential oil of mint. 2 parts Powder finely and mix. If there is much tartar on the teeth it will be well to add to this formula from 10 to 20 parts of pumice, powdered very finely. Tooth Powders and Pastes. — Although the direct object of these is to keep the teeth clean and white, they also prevent decay, if it is only by force of mere clean- liness, and in this way (and also by re- moving decomposing particles of food) tend to keep the breath sweet and whole- some. The necessary properties of a tooth powder are cleansing power un- accompanied by any abrading or chemi- cal action on the teeth themselves, a, cer- tain amount of antiseptic power to enable it to deal with particles of stale food, and a complete absence of any disagreeable taste or smell. These conditions are easy to realize in practice, and there is a very large number of efiicient and good powders, as well as not a few which are apt to injure the teeth if care is not taken to rinse out the mouth very thoroughly after using. These powders include some of the best cleansers, and have hence been admitted in the following recipes, mostly taken from English collections. I. — Charcoal and sugar, equal weights. Mix and flavor with clove oil. II.— Charcoal 156 parts Red kino 156 parts Sugar 6 parts Flavor with peppermint oil. III.— Charcoal 270 parts Sulphate of quinine. ... 1 part Magnesia . . .^. 1 part Scent to liking. IV. — Charcoal 30 parts Cream of tar- tar 8 parts Yellow c i n- chona bark 4 parts Sugar 15 parts Scent with oil of cloves. V. — Sugar 120 parts Alum 10 parts Cream of tar- tar. 20 parts Cochineal. ... 3 parts VI. — Cream of tar- tar 1,000 parts Alum 190 parts Carbonate of magnesia . . 375 parts Sugar 375 parts Cochineal.. . . 75 parts Essence Cey- lon cinna- mon 90 parts Essence cloves 75 parts Essence Eng- lish pep- permint. . . 45 parts VII.— Sugar 200 parts Cream of tar- tar 400 parts Magnesia. . . . 400 parts Starch 400 parts Cinnamon. . . 32 parts Mace 11 parts Sulphate of quinine.. . . 16 parts Carmine 17 parts Scent with oil of peppermint and oil of rose. VIII. — ^Bleaching pow- der 11 parts Red coral. ... 12 parts IX. — Red cinchona bark 12 parts Magnesia 60 parts Cocnineal. ... 9 parts Alum 6 parts Cream of tar- ' tar 100 parts 254 DENTIFRICES English pep- permint oil. Cinnamon oil 4 parts 2 parts Grind the first five ingredients sepa- rately, then mix the alum with the cocni- neal, and then add to it the cream of tar- ' tar and the bark. In the meantime the magnesia is mixed with the essential oils, and finally the whole mass is mixed through a very fine silk sieve. X. — Whitewood charcoal. . . 250 parts Cinchona bark 125 parts Sugar 250 parts Peppermint oil 12 parts Cinnamon oil 8 parts XI. -Precipitated chalk Cream of tar- tar Florence or- ris root ... . Sal ammoniac Ambergris . . . Cinnamon. . . Coriander. . . . Cloves Rosewood . . . XII. 750 parts 250 parts 250 parts 60 parts 4 parts 4 parts 4 parts 4 parts 4 parts -D r a g o n ' s blood 250 parts Cream of tar- tar 30 parts Florence or- ris root. ... 30 parts Cinnamon. . . 16 parts Cloves 8 parts XIII.— Precipitated chalk Dragon's blood Red sandal- wood Alum Orris root. . . . Cloves Cinnamon. . . Vanilla Rosewood. . . Carmine lake Carmine XIV. 600 parts 250 parts 125 parts 125 parts 250 parts 15 parts 15 parts 8 parts 15 parts 250 parts 8 parts -Cream of tar- tar 150 parts Alum 25 parts Cochineal.... 12 parts Cloves 25 parts Cinnamon... 25'parts Rosewood ... 6 parts Scent with essence of rose. XV.— Coral 20 parts Sugar 20 parts Wood char- coal 6 parts Essence of ver- vain 1 part XVI.— Precipitated chalk 500 parts Orris root. . . . 500 parts Carmine 1 part Sugar 1 part Essence of rose 4 parts Essence of ne- roli 4 parts XVII.— C i n c h o n a bark 50 parts Chalk 100 parts Myrrh 50 parts Orris root.. . . 100 parts Cinnamon. . . 50 parts Carbonate of ammonia. . 100 parts Oil of cloves . 2 parts XVIII.— Gum arable. . 30 parts Cutch 80 parts Licorice juice. 550 parts Cascarilla. ... 20 parts Mastic 20 parts Orris root. . . 20 parts Oil of cloves. . 5 parts Oil of pepper- mint 15 parts Extract of amber 5 parts Extract of musk 5 parts XIX.— Chalk 200 parts Cuttlebone. . . 100 parts Orris root. . . . 100 parts Bergamot oil. . 2 parts Lemon oil.. . . 4 parts Neroli oil ... . 1 part Portugal oil . . 2 parts XX. — Borax 50 parts Chalk 100 parts Myrrh 25 parts Orris root. ... 22 parts Cinnamon. . . 25 parts XXL— Wood char- coal 30 parts White honey . 30 parts Vanilla sugar 30 parts Cinchona bark 16 parts Flavor with oil of peppermint. XXIL— Syrup of 33°B. 38 parts Cuttlebone. . . 200 parts Carmine lake 30 parts English oil of peppermint 5 parts DENTIFRICES 265 XXIII. — Red coral.... 50 parts Cinnamon. . . li parts Cochineal. ... 6 parts Alum 2J parts Honey 125 parts Water 6 parts Triturate the cochineal and the alum with the water. Then, after allowing them to stand for 24 hours, put in the honey, the coral, and the cinnamon. When the effervescence has ceased, which happens in about 48 hours, flavor with essential oils to taste. XXIV.— Well-skimmed honey 60 parts Syrup of pep- permint... 50 parts Orris root. ... 12 parts Sal ammoniac 12 parts Cream of tar- tar 12 parts Tine t u r e of cinnamon.. 3 parts Tine t u r e of cloves 3 parts Tine t u r e of vanilla .... 3 parts Oil of cloves . 1 part XXV.— Cream of tar- tar 120 parts Pumice 120 parts Alum 30 parts Cochineal. ... 30 parts Bergamot o.il . 3 parts Clove , 3 parts Make to a thick paste with honey or sugar. XXVI.— Honey. 260 parts Precipit a t e d chalk 250 parts Orris root. . . . 250 parts Tincture of opium 7 parts Tine t u r e of myrrh 7 parts Oil of rose ... 2 parts Oil of cloves. . 2 parts Oil of nutmeg 2 parts XXVII.— Florentine or- ris 6 parts Magn e s i u m • carbonate.. 2 parts Almond soap 12 parts Calcium car- bonate .... 60 parts Thymol 1 part Alcohol, quantity sufficient. Powder the solids and mix. Dissolve the thymol in as little alcohol as possible, and add perfume in a mixture m equal parts of oil of peppermint, oil of clove. oil of lemon, and oil of eucalyptus. About 1 minim of each to every ounce of powder will be sufficient. XXVIII.— Myrrh, 10 parts; sodium chloride, 10 parts; soot, 5 parts; soap, 5 parts; lime carbonate, 500 parts. XXIX. — Camphor, 5 parts; soap, ]0 parts; saccharine, 0.25 parts; thymol, 0.5 parts; lime carbonate, 500 parts. Scent, as desired, with rose oil, sassafras oil, wintergreen oil, or peppermint oil. XXX. — Powdered camphor, 6 parts; myrrh, 15 parts; powdered Peruvian bark, 6 parts; distilled water, 12 parts; alcohol of 89° P., 50 parts. Macerate the powders in the alcohol for a week and then filter. XXXI. — Soap, 1; saccharine, 0.025; thymol, 0.05; lime carbonate, 50; sassa- fras essence, enough to perfume. XXXII. — Camphor, 0.5; soap, 1; sac- charine, 0.025; calcium carbonate, 50; oil of sassafras, or cassia, or of gaul- theria, enough to perfume. XXXIU. — Myrrh, 1; sodium chloride, 1; soap, 50; lime carbonate, 60; rose oil as required. XXXIV. — Precipitated calcium car- bonate, 60 parts; quinine sulphate, 2 parts; saponine, 0.1 part; saccharine, 0.1 part; carmine as required; oil of peppermint, sufficient. XXXV.— Boracic acid, 100 parts; powdered starch, 50 parts; quinine hy- drochlorate, 10 parts; saccharine, 1 part; vanillin (dissolved in alcohol), 1.5 parts. Neutral Tooth Powder. — Potassium chlorate, 200 parts; starch, 200 parts; carmine lake, 40 parts; saccharine (in alcoholic solution), 1 part; vanillin (dis- solved in alcohol), 1 part. Tooth Powder for Children. — Magnesia carbonate. . 10 parts Medicinal soap 10 parts Sepia powder 80 parts Peppermint oil, quantity sufficient to flavor. Flavorings for Dentifrice.^ I. — Sassafras oil, true. ... 1 drachm Pinus pumilio oil ... . 20 minims Bitter orange oil 20 minims Wintergreen oil 2 minims Anise oil 4 minims Rose geranium oil . . . 1 minim Alcohol I'Ounce Use according to taste. II. — Oil of peppermint, English 4 parts Oil of aniseed 6 parts 256 DENTIFRICES Oil of clove 1 part Oil of cinnamon. ... 1 part Saffron 1 part Deodorized alcohol . 350 parts Water 300 parts Or, cassia, 4 parts, and vanilla, J part, may be substituted for the saffron. LIQUID DENTIFRICES AND TOOTH WASHES: A French Dentifrice. — I. — A prepara- tion which has a reputation in France as a liquid dentifrice is composed of alco- hol, 96 per cent, 1,000 parts; Mitcham peppermint oil, 30 parts; aniseed oil, 5 parts; oil of Acorus calamus, 0.5 parts. Finely powdered cochineal and cream of tartar, 5 parts each, are used to tint the solution. The mixed ingredients are set aside for 14 days before filtering. Sozodont. — ir. — The liquid tooth preparation "Sozodont" is said to contain: Soap powder, 60 parts; glycerine, 60 parts; alcohol, 300 parts; water, 220 parts; oils of peppermint, of aniseed, of clover, and of cinnamon, 1 part each; oil of winter- green, 1-200 part. III. — Thymol 2 grains Benzoic acid 24 grains Tincture eucalyptus 2 drachms Alcohol quantity sufficient to make 2 ounces. Mix. Sig.: A teaspoonful diluted with half a wineglassful of water. IV. — Carbolic acid, pure 2 ounces Glycerine, 1,260°.. 1 ounce Oil wintergreen . . . 6 drachms Oil cinnamon 3 drachms Powdered cochi- neal J drachm S. V. R 40 ounces Distilled water. ... 40 ounces Dissolve the acid in the glycerine with the aid of a gentle heat and the essential oils in the spirit; mix together, and add the water and cochineal; then let the preparation stand for a week and filter. A mixture of caramel and cochineal coloring, N. F., gives an agreeable red color for saponaceous tooth washes. It is not permanent, however. Variations of this formula follow: V. — White castile soap. 1 ounce Tincture of asarum 2 drachms Oil of peppermint. J drachm Oil of wintergreen. j drachm Oil of cloves 6 drops Oil of cassia 5 drops Glycerine 4 ounces Alcohol 14 ounces Water 14 ounces VI.— White castile soap, li ounces Oil of orange 10 minims Oil of cassia 5 minims Oil of wintergreen. 15 minims Glycerine 3 ounces Alcohol 8 ounces Water enough to make 1 quart. VII. — White castile soap. 3 ounces Glycerine 5 ounces Water 20 ounces Alcohol 30 ounces Oil of peppermint . 1 drachm Oil of wintergreen. 1 drachm Oil of orange peel . 1 drachm Oil of anise 1 drachm Oil of cassia 1 drachm Beat up the soap with the glycerine; dissolve the oils in tne alcohol and add to the soap and glycerine. Stir well until the soap is completely dissolved. VIII. — -White castile soap. 1 ounce Orris root 4 ounces Rose leaves 4 ounces Oil of rose i drachm Oil of neroli J drachm Cochineal J ounce Diluted alcohol. . . 2 quarts If the wash is intended simply as an elixir for sweetening the breath, the fol- lowing preparation, resembling the cele- brated eau de hotot, will be found very desirable: IX. — Oil of peppermint. 30 minims Oil of spearmint . . 15 minims Oil of cloves 5 minims Oil of red cedar wood 60 minims Tincture of myrrh. 1 ounce Alcohol 1 pint Care must be taken not to confound the oil of cedar tops with the oil of cedar wood. The former has an odor like tur- pentine; the latter has the fragrance of the red cedar wood. For a cleansing wash, a solution of soap is to be recommended. It may be made after the following formula: X. — White castile soap . 1 ounce Alcohol 6 ounces Glycerine 4 ounces Hot water 6 ounces Oil of peppermint. 15 minims Oil of wintergreen 20 minims Oil of cloves 5 minims Extract of vanilla . J ounce Dissolve the soap in the hot water and add the glycerine and extract of vanilla. Dissolve the oils in the alcohol, mix the solutions, and after 24 hours filter through paper. DENTIFRICES 257 It is customary to color such prepara- tions. An agreeable brown-yellow tint may be given by the addition of a small quantity of caramel. A red color may be given by_ cochineal. The color will fade, but will be found reasonably per- manent when kept from strong light. TOOTH SOAPS AND PASTES: Tooth Soaps. — I. — White Castile soap . . 225 parts Precipitated chalk . . 226 parts Orris root 226 parts Oil of peppermint. . 7 parts Oil of cloves 4 parts Water, a sufficient quantity. II. — Castile soap 100 drachms Precipitated chalk . . 100 drachms Powdered orris root. 100 drachms White sugar 50 drachms Rose water 50 drachms Oil of cloves 100 drops Oil of peppermint. . . 3 drachms Dissolve the soap in water, add the rose water, then rub up with the sugar with which the oils have been previously triturated, the orris root and the pre- cipitated chalk. III. — Potassium chlorate, 20 drachms; powdered white soap, 10 drachms; pre- cipitated chalk, 20 drachms; peppermint oil, 15 drops; clove oil, 5 drops; glycer- ine, sufficient to mass. Use with a soft brush. Saponaceous Tooth Pastes. — I. — Precipitated car- bonate of lime . . 90 parts Soap powder 30 parts Ossa sepia, pow- dered 15 parts Tincture of cocaine 45 parts Oil of peppermint. 6 parts Oil of ylang-ylang. 0.3 parts Glycerine 30 parts Rose water to cause liquefac- tion. Carmine solution to color. II. — Precipitated car- bonate of lime . . 150 parts Soap powder 45 parts Arrowroot 45 parts Oil of eucalyptus . 2 parts Oil of peppermint. 1 part Oil of geranium . . 1 part Oil of cloves 0.25 parts Oil of aniseed. . . . 0.26 parts Glycerine 45 parts Chloroform water to cause lique- faction. Carmine solution to color. Cherry Tooth Paste.— III. — Clarified honey . . 100 drachms Precipitated chalk 100 drachms Powdered orris root 100 drachms Powdered rose leaves 60 drops Oil of cloves 55 drops Oil of mace 55 drops Oil of geranium. . 66 drops Chinese Tooth Paste. — IV. — Powdered pumice 100 drachms Starch 20 drachms Oil of peppermint 40 drops Carmine J drachm Eucalyptus Paste. — Forty drachms precipitated chalk, 11 drachms soap powder, 11 drachms wheaten starch, J drachm carmine, 30 drops oil of pep- permint, 30 drops oil of geranium, 60 drops eucalyptus oil, 2 drops oil of cloves, 12 drops oil of anise mixed to- gether and incorporated to a paste, with a mixture of equal parts of glycerine and spirit. Myrrh Tooth Paste.— Precipitated chalk 8 ounces Orris 8 ounces White Castile soap . 2 ounces Borax 2 ounces Myrrh 1 ounce Glycerine, quantity sufficient. Color and perfume to suit. A thousand grams of levigated pow- dered oyster shells are rubbed up with 12 drachms of cochineal to a homogene- ous powder. To this is added 1 drachm of potassium permanganate and 1 drachm boric acid and rubbed well up. Foam up 200 drachms castile soap and 5 drachms chemically pure glycerine and mix it with the foregoing mass, adding hy teaspoon- ful 150 grams of boiling strained honey. The whole mass is again thoroughly rubbed up, adding while doing so 200 drops honey. Finally the mass should be put into a mortar and pounded for an hour and then kneaded with the hands for 2 hours. Tooth Paste to be put in Collapsible Tubes.— Calcium carbonate, levigated 100 parts Cuttlefish bone, in fine powder 26 parts Castile soap, old white, powdered 25 parts Tincture of carmine, ammoniated 4 parts Simple syrup 25 parts 258 DENTIFRICES Menthol 2 parts Alcohol 5 parts Atfar of rose or other perfume, quan- tity sufficient. Rose water sufficient to make a paste. Beat the soap with a little rose water, then warm until softened, add syrup and tincture of carmine. Dissolve the perfume and menthol in the alcohol and add to soap mixture. Add the solids and incorporate thoroughly. Finally, work to a proper consistency for filling into collapsible tubes, adding water, if necessary. MOUTH WASHES. I. — Quillaia bark. . . . 125 parts Glycerine 95 parts Alcohol 155 parts Macerate for 4 days and add: Acid, carbol. cryst 4 parts Ol. geranii 0.6 parts Ol. caryophyll . . 0.6 parts Ol. rosse 0.6 parts Ol. cinnam 0.6 parts Tinct. ratanhse. . 45 parts Aqua rosse 900 parts Macerate again for 4 days and filter. Thymol 20 parts Peppermint oil. . 10 parts Clove oil 5 parts Sage oil 5 parts Marjoram oil. . . 3 parts Sassafras oil ... . 3 parts Wintergreen oil. 0.5 parts Coumarin 0.5 parts Alcohol, dil 1,000 parts A teaspoonful in a glass of water. II. — Tincture orris (1 in 4) 1 J parts Lavender water. . . j part Tinct. cinnamon (linS).. .. .. .. 1 part Tinct. yellow cinch bark 1 part Eau de cologne. ... 2 parts Orris and Rose. — III. — Orris root 30 drachms Rose leaves 8 drachms Soap bark 8 drachms Cochineal 3i drachms Diluted alcohol. . 475 drachms Oil rose 30 drops Oil neroli 40 drops Myrrh Astringent. — IV. — Tincture myrrh. . 125 drachms Tincture benzoin. 50 drachms Tincture cinchona 8 drachms Alcohol 225 drachms Oil of rose 30 drops Borotonic. — V. — Acid boric 20 parts Oil wintergreen. 10 parts Glycerine 110 parts Alcohol 150 parts Distilled water enough to make 600 parts Sweet Salicyl. — VI. — Acid salicylic. . . 4 parts Saccharine 1 part Sodium bicar- bonate 1 part Alcohol 200 parts Foaming Orange. — VII. — Castile soap. .. . 29 drachms Oil orange 10 drops Oil cinnamon. . . 5 drops Distilled water. . 30 drachms Alcohol 90 drachms Australian Mint. — VIII.— Thymol . . 0.25 parts Acid benzoic. . . 3 parts Tincture eucalyp- tus 15 parts Alcohol 100 parts Oil peppermint. 0.75 parts Fragrant Dentine. — IX. — Soap bark 125 parts Glycerine 95 parts Alcohol 155 parts Rose water 450 parts Macerate for 4 days and add: Carbolic acid, cryst 4 parts Oil geranium. . . 0.6 parts Oil cloves 0.6 parts Oil rose 0.6 parts Oil cinnamon.. . 0.6 parts Tincture rhatany 45 parts Rose water 450 parts Allow to stand 4 days; then filter. Aromantiseptic. — X. — Thymol , 20 parts Oil peppermint. 10 parts Oil cloves 5 parts Oil sage 5 parts Oil marjoram.. . 3 parts Oil sassafras. ... 3 parts Oil wintergreen. 0.5 parts Coumarin 0.5 parts Diluted alcohol. 1,000 parts The products of the foregoing formulas are used in the proportion of 1 teaspoon- ful in a half glassful of water. Foaming. — XI. — Soap bark, powder 2 ounces Cochineal powder. 60 grains Glycerine 3 ounces DENTIFRICES— DEPILATORIES 259 Alcohol 10 ounces Water suflScient to make 32 ounces Mix the soap, cbchineal, glycerine, alcohol, and water together; let macerate for several days; filter and flavor; if same produces turbidity, shake up the mixture with magnesium carbonate, and filter through paper. Odonter. — XII. — Soap bark, powder 2 ounces Cudbear, powder . 4 drachms Glycerine 4 ounces Alcohol 14 ounces Water suflScient to make 32 ounces Mix, and let macerate with frequent agitation, for several days; filter; add flavor; if necessary filter again through magnesium carbonate or paper pulp. Sweet Anise. — XIII. — Soap bark 2 ounces Aniseed 4 drachms Cloves 4 drachms Cinnamon 4 drachms Cochineal 60 grains Vanilla 60 grains Oil of peppermint. 1 drachm Alcohol 16 ounces Water sufficient to make 32 ounces Reduce the drugs to coarse powder, dissolve the oil of peppermint in the alcohol, add equal parts of water, and macerate therein the powders for 5 to 6 days, with frequent agitation; place in percolator and percolate until 32 fluid- ounces have been obtained. Let stand for a week and filter through paper; if neces- sary to make it perfectly bright and clear, shake up with some magnesia, and again filter. Saponaceous. — XIV. — White Castile soap 2 ounces Glycerine 2 ounces Alcohol 8 ounces Water 4 ounces Oil peppermint. . . 20 drops Oil wintergreen ... 30 drops Solution of carmine N. F. suffi- cient to color. Dissolve the soap in the alcohol and water, add the otner ingredients, and filter. XV. — Crystallized car- bolic acid 4 parts Eucafyptol 1 part Salol 2 parts Menthol 0.25 parts Thymol 0.1 part Alcohol 100 parts Dye with cochineal (1 J per cent). 9 Jackson's Mouth Wash.— Fresh lemon peel, 10 parts; fresh sweet orange peel, 10 parts; angelica root, 10 parts; guaia- cum wood, 30 parts; balsam of T(3u, 12 parts; benzoin, 12 parts; Peruvian bal- sam, 4 parts;, myrrh, 3 parts; alcohol (90 per cent), 500 parts. Tablets for Antiseptic Mouth Wash.— Heliotropine, 0.01 part; saccharine, 0.01 part; salicylic acid, 0.01 part; men- thol, 1 part; milk sugar, 5 parts. These tablets may be dyed green, red, or blue, with chlorophyll, eosine, and indigo car- mine, respectively. Depilatories Depilatory Cream. — The depilatorjr cream largely used in New York hospi- tals for the removal of hair from the skin previous to operations: I. — Barium sulphide. ... 3 parts Starch 1 part Water, sufficient quantity. The mixed powders are to be made into a paste with water, and applied in a moderately thick layer to the parts to be denuded of hair, the excess of the latter having been previously trimmed Off with a pair of scissors. From time to time a small part of the surface should be ex- amined, and when it is seen that the hair can be removed, the mass should be washed off. The barium sulphide should be quite fresh. It can be pre- pared by making barium sulphate and its own weight of charcoal into a paste with linseed oil, rolling the paste into the shape of a sausage, and placing it upon a bright fire to incinerate. When «it has ceased to burn, and is a white hot mass, remove from the fire, cool, and powder. The formula is given w;ith some re- serve, for preparations of this kind are usually unsafe unless used with great care. It should be removed promptly when the skin begins to burn. II. — Barium sulphide. .. . 25 parts Soap 6 parts Talc 35 parts Starch 35 parts Benzaldehy de s u f - ficient to make. . . 120 parts Powder the solids and mix. To use, to a part of this mixture add 3 parts of water, at the time of its application, and with a camel's-hair pencil paint the mix- ture evenly over the spot to be freed of hair. Let remain in contact with the 260 DEPILATORIES— DIAMOND TESTS skin for 5 minutes, then wash off with a sponge, and in the course of 5 minutes longer the hair will come off on slight friction with the sponge. Strontium sulphide is an efficient de- pilatory. A convenient form of applying it is as follows: III. — Strontium sulphide . 2 parts Zinc oxide 3 parts Powdered starch ... 3 parts Mix well and keep in the dry state un- til wanted for use, taking then a sufficient quantity, forming into a paste with warm water and applying to the surface to be deprived of Eair. Allow to remain from 1 to 5 minutes, according to the nature of the hair and skin; it is not advisable to continue the application longer than the last named period. Remove in all cases at once when any caustic action is felt. After the removal of the paste, scrape the skin gently but firmly with a blunt-edged blade (a paper knife, for in- stance) until the loosened hair is re- moved. Then immediately wash the denuded surface well with warm water, and apply cold cream or some similar emollient as a dressing. By weight IV. — Alcohol 12 parts Collodion 35 parts Iodine 0.75 parts Essence of turpen- tine . 1.5 parts Castor oil 2 parts Apply with a, brush on the affected parts for 3 or 4 days in thick coats. When the collodion plaster thus formed is pulled off, the hairs adhere to its inner surface. v.— >Rosin sticks are intended for the removal of hairs and are made from colo- phony with an admixture of 10 per cent of yellow wax. The sticks are heated like a stick of sealing wax until soft or semi-liquid (142° F.), and lightly applied on the place from which the hair is to be removed, and the mass is allowed to cool. These rosin sticks are said to give good satisfaction. DEPTHINGS, VERIFICATION OF: See Watchmakers" Formulas. DESILVERING: See Plating. DETERGENTS: See Cleaning Preparations and Meth- ods. DEVELOPERS FOR PHOTOGRAPHIC PURPOSES: See Photography. DEXTRIN PASTES AND MUCI- LAGES: See Adhesives. DIAL CEMENTS: See Adhesives, under Jewelers' Ce- ments. DLA.L CLEANERS: See Cleaning Preparations and Meth- ods. DIAL REPAIRING: See Watchmakers' Formulas. DLA.MALT: See Milk. DLAMOND TESTS: See also Gems and Jewelers' For- mulas. To Distinguish Genuine Diajnonds. — If characters or marks of any kind are drawn with an aluminum pencil on glass, porcelain, or any substance containing silex, the marks cannot be erased by rubbing, however energetic the friction, and even acids will not cause them to dis- appear entirely, unless the surface is en- tirely freed from greasy matter, which can be accomplished iy rubbing with whiting and passing a. moistened cloth over the surface at the time of writing. So, in order to distinguish the true dia- mond from the false, it is necessary only to wipe the stone carefully and trace a line on it with an aluminum pencil, and then rub it briskly with a moistened cloth. If the line continues visible, the stone is .surely false. If, on the contrary, the stone is a true diarnond, the line will disappear without leaving a trace, and without in- jury to the stone. The common test for recognizing the diamond is the file, which does not cut it, though it readily attacks imitations. There are other stones not affected by the file, but they have characteristics of color and other effects by which they are readily distinguished. This test should be confirmed by others. From the following the reader can select the most convenient: A piece of glass on which the edge of a diamond is drawn, will be cut without much pressure; a slight blow is suffi- cient to separate the glass. An imita- tion may scratch the glass, but this will not be cut as with the diamond. DIAMOND TESTS— DIGESTIVE POWDERS 261 If a small drop of water is placed upon the face of a diamond and moved about by means of tlie point of a pin, it will preserve its globular form, provided the stone is clean and dry. If the attempt is made on glass, the drop will spread. A diamond immersed in a glass of water will be distinctly visible, and will shine clearly through the liquid. The imitation stone will be confounded with the water and will be nearly invisible. By looking through a diamond with a glass at a black point on a sheet of white paper, a single distinct point will be seen. Several points, or a foggy point will ap- pear if the stone is spurious. Hydrofluoric acid dissolves all imita- tions, but has no effect on true diamonds. This acid is kept in gutta-percha bot- tles. For an eye practiced in comparisons it is not difficult to discern that the facets in the cut of a true diamond are not as regular as are those of the imitation; for in cutting and polishing the real stone an effort is made to preserve the original as much as possible, preferring some slight irregularities in the planes and edges to the loss in the weignt, for we all know that diamonds are sold by weight. In an imitation, however, whether of paste or another less valuable stone, there is al- ways an abundance of cheap material which may be cut away and thereby form a perfect-appearing stone. Take a piece of a fabric, striped red and white, and draw the stone to be tested over the colors. If it is an imi- tation, the colors will be seen through it, while a diamond will not allow them to be seen. A genuine diamond, rubbed on wood or metal, after having been previously exposed to the light of the electric arc, becomes phosphorescent in darkness, which does not occur with imitations. Heat the stone to be tested, after giving it a coating of borax, and let it fall into cold water. A diamond will undergo the test without the slightest damage; the glass will be broken in pieces. Finally, try with the fingers to crush an imitation and a genuine diamond be- tween two coins, and you will soon see the difference. DIAMOND CEMENT: See Adhesives, under Jewelers' Ce- ments. DIARRHEA IN BIRDS: See Veterinary Formulas. DIARRHEA REMEDIES: See Cholera Remedies. Die Venting. — Many pressmen have spent hours and days in the endeavor to produce sharp and full impressions on figured patterns. If all the deep recesses in deep-figured dies are vented to allow the air to escape when the blow is struck, it will do much to obtain perfect impressions, and requires only half the force that is necessary in unvented dies. This is not known in many shops and consequently this little air costs much in power and worry. DIGESTIVE POWDERS AND TAB- LETS. ■ I. — Sodium bicarbonate. 93 parts Sodium chlorate. ... 4 parts Calcium carbonate. . 3 parts Pepsin 5 parts Ammonium carbon- ate 1 part II. — Sodium bicarbonate. 120 parts Sodium chlorate. ... 5 parts Sal physiologic (see below) 4 parts Magnesium carbon- ate 10 parts III. — Pepsin, saccharated (U.S. P.) 10 drachms Pancreatin 10 drachms Diastase 50 drachms Acid, lactic 40 drops Sugar of milk 40 drachms IV. — Pancreatin 3 parts Sodium bicarbonate. 15 parts Milk sugar 2 parts Sal Physiologicum. — The formula for this ingredient, the so-called nutritive salt (Nahrsalz), is as follows: Calcium phosphate. 40 parts Potassium sulphate. 2 parts Sodium phosphate . . 20 parts Sulphuric, precipita- ted 5 parts Sodium chlorate. .. . 60 parts Magnesium phos- phate .1 6 parts Carlsbad salts, arti- ficial 60 parts Silicic acid 10 parts Calcium fluoride. ... 2 J parts Digestive Tablets. — Powdered double re- fined sugar 300 parts Subnitrate bismuth 60 parts Saccharated pepsin 45 parts Pancreatin 45 parts Mucilage 35 parts Ginger 30 parts Mix and divide into suitable sizes. 262 DIOGEN DEVELOPER— DISINFECTANTS DIOGEN DEVELOPER: See Photography. DIP FOR BRASS: See Plating and Brass. DIPS: See Metals. DIPS FOR CATTLE: See Disinfectants and Veterinary For- mulas. DISH WASHING: See Household Formulas Disinfectants Disinfecting Fluids. — I. — Creosote 40 gallons Rosin, powdered.. . 56 pounds Caustic soda lye,38° Tw 9 gallons Boiling water 12 gallons Methylated spirit . . 1 gallon Black treacle 14 pounds Melt the rosin and add the creosote; run in the lyes; then add the matter and methylated spirit mixed together, and add the treacle; boil all till dissolved and mix well together. II. — Hot water 120 pounds Caustic soda lye, 38° B 120 pounds Rosin 300 pounds Creosote 450 pounds Boil together the water, lye, and rosin, till dissolved; turn off steam and stir in the creosote; keep on steam to nearly boiling all the time, but so as not to boil over, until thoroughly incorporated. III. — Fresh - made soap (hard yellow) .... 7 pounds Gas tar 21 pounds Water,with 2 pounds soda 21 pounds Dissolve soap (cut in fine shavings) in the gas tar; then add slowly the soda and water which has been dissolved. IV. — Rosin 1 cwt. Caustic soda lye, 18° B : 16 gallons Black tar oil J gallon Nitro- naphthalene dissolved in boil- ing water (about 4 gallon) 2 pounds Melt the rosin, add the caustic lye; then stir in the tar oil and add the nitro- naphthalene. V. — Camphor 1 ounce Carbolic acid (75 per cent) 12 ounces Aqua ammonia 10 drachms Soft salt water 8 drachms To be diluted when required for use. VI. — Heavy tar oil 10 gallons Caustic soda dis- solved in 5 gallons water 600° P 30 pounds Mix the soda lyes with the oil, and heat the mixture gently with constant stir- ring; add, when just on the boil, 20 pounds of refuse fat or tallow and. 20 pounds of soft soap; continue the heat until thoroughly saponified, and add water gradually to make up 40 gallons. Let it settle; then decant the clear liquid. Disinfecting Fluids or Weed-Killers. — I. — Cold water, 20 gallons; powdered rosin, 56 pounds; creosote oil, 40 gallons; sulphuric acid, J gallon; caustic soda lye, 30° B., 9 gallons. Heat water and dissolve the rosin; then add creosote and boil to a brown mass and shut off steam; next run in sulphuric acid and then the lyes. II. — Water 40 gallons Powdered black rosin 56 pounds Sulphuric acid 2 J gallons Creosote 10 gallons Melted pitch 24 pounds Pearlash boiled in 10 gallons water.. 56 pounds Boil water and dissolve rosin and acid; then add creosote and boil well again; add pitch and run in pearlash solution (boiling); then shut off steam. III. (White).— Water, 40 gallons; turpentine, 2 gallons; ammonia, i gal- lon; carbolic crystals, 14 pounds; caustic Ijfes, 2 gallons; white sugar, 60 pounds, dissolved in 40 pounds water. Heat water to boiling, and add first turpentine, next ammonia, and then car- bolic crystals. Stir well until thoroughly dissolved, and add lyes and sugar solu- tion. DISINFECTING POWDERS. I. — Sulphate of iron. . . 100 parts Sulphate of zinc. . . 50 parts Oak bark, powder. 40 parts Tar 5 parts Oil 5 parts II.— Mix together chloride of lime and burnt umber, add water, and set on plates. DISINFECTANTS 263 Blue Sanitary Powder. — Powdered alum 2 pounds Oil of eucalyptus .. . 12 ounces Rectified spirits of tar 6 ounces Rectified spirit of turpentine 2 ounces Ultramarine blue (common) J ounces Common salt 14 pounds Mix alum with about 3 pounds of salt in a large mortar, gradually add oil of eucalyptus and spirits, then put in the ultramarine blue, and lastly remaining salt, mixing all well, and passing through a sieve. Carbolic Powder. (Strong). — Slaked lime in fine powder, 1 cwt. ; carbolic acid, 75 per cent, 2 gallons. Color with aniline dve and then pass through a moderately fine sieve and put into tins or casks and keep air-tight. Pink Carbolized Sanitary Powder. — Powdered alum 6 ounces Powdered green cop- peras 5 pounds Powdered red lead. . 5 pounds Calvert's No. 5 car- bolic acid 12i pounds Spirit of turpentine- IJ pounds Calais sand 10 pounds Slaked lime 60 pounds Mix carbolic acid with turpentine and sand, then add the other ingredients, lastly the slaked lime and, after mixing, pass through a sieve. It is advisable to use lime that has been slaked some time. Cuspidor Powder. — Peat rubble is ground to a powder, and 100 parts put into a mixing machine, which can be hermetically sealed. Then 15 parts of blue vitriol are added either very finely f)ulverized or in a saturated aqueous so- ution. Next are added 2 parts of forma- lin, and lastly 1 part of ground cloves, orange peel, or a sufBcient quantity of some volatile oil, to give the desired per- fume. The mixing machine is tnen closed, and kept at work until the con- stituents are perfectly mixed; the powder is then ready to be put up for the market. Its purpose is to effect a rapid absorption of the sputum, with simultaneous de- struction of any microbes present, and to prevent decomposition and consequent unpleasant odors. Deodorants for Water-Closets.— 1.- — Ferric chloride 4 parts Zinc chloride. ...... 5 parts Aluminum chloride. 5 parts Calcium chloride. ... 4 parts Magnesium chloride . 3 parts Water sufficient to make 90 parts Dissolve, and add to each gallon 10 grains thymol and { ounce oil of rose- mary, previously dissolved in about 6 quarts of alcohol, and filter. II. — Sulphuric acid, fuming 90 parts Potassium perman- ganate 45 parts Water 4,200 parts Dissolve the permanganate in the water, and add under the acid. This is said to be a most powerful disinfectant, deodorizer, and germicide. It should not be used where there are metal trim- mings. Formaldehyde for Disinfecting Books, Papers, etc. — The property of formal- dehyde of penetrating all kinds of paper, even when folded together in several layers, may be utilized for a perfect dis- infection of books and letters, especially at a temperature of 86° to 122° F. in a closed room. The degree of penetra- tion as well as the disinfecting power of the formaldehyde depend upon the method of generating the gas. Letters, paper in closed envelopes, are complete- ly disinfected only in 12 hours, books in 24 hours at a temperature of 122° F. when 70 cubic centimeters of formo- chloral — 17.5 g. of gas — per cubic meter of space are used. Books must be stood up in such a manner that the gas can enter from the sides. Bacilli of typhoid preserve their vitality longer upon un- sized paper and on filtering paper than on other varieties. There is much difference of opinion as to the disinfecting and deodorizing power of formaldehyde when used to di-sinfect wooden tierces. While some have found it to answer well, others have got variable results, or failed of success. The explanation seems to be that those who have obtained poor re- sults have not allowed time for the dis- infectant to penetrate the pores of the wood, the method of application being wrong. The solution is tnrown into the tierce, which is then steamed out at once, whereby the aldehyde is volatilized be- fore it has had time to do its work. If the formal and the steam, instead of being used in succession, were used to- gether, the steam would carry the dis- infectant into the pores of the wood. But a still better plan is to give the alde- hyde more time. 264 DISINFECTANTS Another point to be remembered in all cases of disinfection by formaldehyde is that a mechanical cleansing must pre- cede the action of the antiseptic. If there are thick deposits of organic mat- ter which can be easily dislodged with a scrubbing brush, they can only be dis- infected by the use of large quantities of formaldehyde used during a long period of time. General Disinfectants. — I. — Alum 10 ounces Sodium carbonate . . 10 ounces Ammonium chloride 2 ounces Zinc chloride 1 ounce Sodium chloride. ... 2 ounces Hydrochloric acid, quantity suffi- cient. Water to make 1 gallon. Dissolve the alum in one half gallon of boiling water, and add the sodium carbonate; then add hydrochloric acid until the precipitate formed is dissolved. Dissolve the other salt in water and add to the previous solution. Finally add enough water to make the whole measure 1 gallon, and filter. In use, this is diluted with 7 parts of water. II. — For the Sick Room. — In using this ventilate frequently: Guaiac, 10 parts; eucalyptol, 8 parts; phenol, 6 parts; men- thol, 4 parts; thymol, 2 parts; oil of cloves, 1 part; alcohol of 90 per cent, 170 parts. Atomizer Liquid for Sick Rooms. — III.— Eucalyptol 10' Thyme oil 5 Parts Lemon oil 5 }• by Lavender oil 5 ""'s"- Spirit, 90 per cent. . .110, To a pint of water a teaspoonful for evaporation. Non-Poisonous Sheep Dips. — Paste. — I. — Creosote (containing 15 per cent to 20 per cent of car- bolic acid) 2 parts Stearine or Yorkshire grease 1 part Caustic soda lyes, specific gravity, 1340... 1 part Black rosin, 5 per cent to 10 per cent. Melt the rosin and add grease and soda lyes, and then add creosote cold. II. — Creosote 1 part Crude hard rosin oil 1 part Put rosin oil in copper and heat to about 220° F., and add as much caustic soda powder, 98 per cent strength, as the oil will take up. The quantity depends upon the amount of acetic acid in the oil. If too much soda is added it will remain at the bottom. When the rosin oil has taken up the soda add creosote, and let it stand. Odorless Disinfectants. — I. — Ferric chloride 4 parts Zinc chloride 5 parts Aluminum chloride. 5 parts Calcium chloride ... 4 parts Manganese chloride 3 parts Water 69 parts If desired, 10 grains thymol and 2 fluidrachms oil of rosemary, previously dissolved in about 12 fluidrachms of al- cohol, may be added to each gallon. II. — Alum 10 parts Sodium carbonate . . 10 parts Ammonium chloride 2 parts Sodium chloride. ... 2 parts Zinc chloride 1 part Hydrochloric acid, sufficient. Water 100 parts Dissolve the alum in about 50 parts boiling water and add the sodium car- bonate. The resulting precipitate of aluminum hydrate dissolve with the aid of just sufficient hydrochloric acid, and add the other ingredients previously dis- solved in the remainder of the water. III. — Mercuric chloride. . . 1 part Cupric sulphate .... 10 parts Zinc sulphate 50 parts Sodium chloride. ... 65 parts Water to make 1,000 parts. Paris Salts. — The disinfectant known by this name is a mixture made from the following recipe: Zinc sulphate 49 parts Ammonia alum 49 parts Potash permanga- nate 1 part Lime 1 part The ingredients are fused together, mixed with a little calcium chloride, and perfumed with thymol. Piatt's Chlorides.— I. — Aluminum sulphate. 6 ounces Zinc chloride 1 J ounces Sodium chloride. .. . 2 ounces Calcium chloride. . . 3 ounces Water enough to make 2 pints. II. — A more elaborate formula for a preparation said to resemble the proprie- tary article is as follows: DISINFECTANTS— DOSES 265 Zinc, in strips 4 ounces Lead carbonate .... 2 ounces Chlorinated lime. . . 1 ounce Magnesium carbon- ate J ounce Aluminum hydrate.. 1 J ounces Potassium hydrate. . j ounce Hydrochloric acid . . 16 ounces Water 16 ounces Whiting, enough. Dissolve the zinc in the acid; then add the other salts singly in the order named, letting each dissolve before the next is added. When all are dissolved add the water to the solution, and after a couple of hours add a little whiting to neutralize any excess of acid; then filter. Zinc chloride ranks very low among disinfectants, and the use of such solu- tions as these, by giving a false sense of security from disease germs, may be the means of spreading rather than of check- ing the spread of sickness. Disinfecting Coating. — Carbolic acid, 2 parts; manganese, 3 parts; calcium chloride, 2 parts; china clay, 10 parts; infusorial earth, 4 parts ; dextrin, 2 parts; and water, 10 parts. DISTEIVIPER IN CATTLE: See Veterinary Formulas. DIURETIC BALL: See Veterinary Formulas. DOG APPLICATIONS: See Insecticides. DOG BISCUIT. The waste portions of meat and tallow, including the skin and fiber, have for years been imported from South Ameri- can tallow factories in the form of blocks. Most of the dog bread consists princij)ally of these remnants, chopped and mixed with flour. They contain a good deal of firm fibrous tissue, and a large percent- age of fat, but are lacking in nutritive salts, which must be added to make good dog bread, just as in the case of the meat flour made from the waste of meat ex- tract factories. The flesh of dead ani- mals is not used by any reputable manu- facturers, for the reason that it gives a dark color to the dough, has an unpleas- ant odor, and if not properly sterilized would be injurious to dogs as a steady diet. Wheat flour, containing as little bran as possible, is generally used,_ oats, rye, or Indian meal being only mixed in to make special varieties, or, as in the case of Indian meal, for cheapness. Eye flour would give a good flavor, but it dries slowly, and the biscuits would have to go through a special process of drying after baking, else they would mold and spoil. Dog bread must be made from good wheat flour, of a medium sort, mixed with 15 or 16 per cent of sweet, dry chopped meat, well baked and dried like pilot bread or crackers. This is the rule for all the standard dog bread on the market. There are admixtures which affect more or less its nutritive value, such as salt, vegetables, chopped bones, or bone meal, phosphate of lime, and other nutritive salts. In preparing the dough and in baking, care must be taken to keep it light and porous. DOG DISEASES AND THEIR REME- DIES: See Veterinary Formulas. DOG SOAP: See Soap. DONARITE: See Explosives. DOORS, TO CLEAN: See Cleaning Preparations and Meth- ods. DOSES FOR ADULTS AND CHILDREN. The usual method pursued by medical men in calculating the doses of medicine for children is to average the dose in proportion to their approximate weight or to figure out a dose upon the assump- tion that at 12 years of age half of an adult dose will be about right. Calcu- lated on this basis the doses for those under 12 will be in direct proportion to the age in years plus 12, divided into the age. By this rule a child 1 year old should get 1 plus 12, or 13, dividing 1, or iV of an adult dose. If the child is 2 years old it should get 2 plus 12, or 14, dividing 2, or ^ of an adult dose. A child of 3 years should get 3 plus 12, or 15, dividing 3, or i of an adult dose. A child of 4 should get 4 plus 12, or 16, dividing 4, or J of an adult dose. As both children and adults vary materially in size when of the same age the calculation by approximate weights is the more accurate way. Taking the weight of the average adult as 150 pounds, then a boy, man, or woman, whatever the age, weighing only 75 pounds should receive only one-half of an adult dose, and a man of 300 pounds, provided his weight is the result of a properly propor- tioned body, and »ot due to mere adipose DOSE TABLE— DYES tissue, should be double that of the aver- age adult. If the weight is due to mere fat or to some diseased condition of the body, such a calculation would be entire- ly wrong. The object of the calculation is to get as nearly as possible to the amount of dilution the dose undergoes in the blood or in the intestinal contents of the patient. Each volume of blood should receive exactly the same dose in order to give the same results, other conditions being equal. DOSE TABLE FOR VETERINARY PURPOSES: See Veterinary Formulas. DRAWINGS, PRESERVATION OF. Working designs and sketches are eas- ily soiled and rendered unsuitable for further use. This can be easily avoided by coating them with collodion, to which 24 per cent of stearine from a good stearine candle has been added. Lay the drawing on a glass plate or a board, and pour on the collodion, as the photographer treats his plates. After 10 or 20 minutes the design will be dry and perfectly white, possessing a dull luster, and being so well protected that it may be washed off with water without fear of spoiling it. DRAWINGS, TO CLEAN: See Cleaning Preparations and Meth- ods. DRIERS: See Siccatives. DRILLING, LUBRICANT FOR: See Lubricants. DRINKS FOR SUMMER AND WINTER : See Beverages. DROPS, TABLE OF: See Tables. DRYING OILS: See Oil. DRY ROT: See Rot. DUBBING FOR LEATHER; See Lubricants. DUST -LAYING: See Oil. DUST PREVENTERS AND DUST CLOTHS: See Household Formulas. Dyes In accordance with the recjuirements of dyers, many of the following recipes describe dyes for large quantities of goods, but to make them equally adapted for the use of private families they are usually given in even quantities, so that it is an easy matter to ascertain the quan- tity of materials required for dyeing, when once the weight of the goods is known, the quantity of materials used being re- duced in proportion to the smaller quan- tity of goods. EmpJloy soft water for all dyeing pur- poses, if it can be procured, using 4 gal- lons water to 1 pound of goods; for larger quantities a little less water will do. Let all the implements used in dyeing be kept perfectly clean. Prepare the goods by scouring well with soap and water, wash- ing out the soap well, and dipping in warm water, before immersion in the dye or mordant. Goods should be well aired, rinsed, and properly hunj, up after dye- ing. Silks and fine goods should be ten- derly handled, otherwise injury to the fabric will result. Aniline Black.— Water, 20 to 30 parts; chlorate of potassa, 1 part; sal ammo- niac, 1 part; chloride oi copper, 1 part; aniline and hydrochloric acid, each 1 part, previously mixed together. It is essen- tial that the preparation should be acid, and the more acid it is the more rapid will be the production of the blacks; if too much so, it may injure the fabric. The fabric or yarn is dried in ag iing rooms at a low temperature for 24 hours, and washed afterwards. Black on Cotton. — For 40 pounds foods, use sumac, 30 pounds; boil f of an our;' let the goods steep overnight, and immerse them in limewater, 40 minutes, remove, and allow them to drip f of an hour; add copperas, 4 pounds, to the sumac liquor, and dip 1 hour more; next work them through limewater for 20 minutes; then make a new dye of logwood, 20 pounds, boil 2J hours, and enter the goods 3 hours; then add bichromate of potash, 1 pound, to the new dye, and dip 1 hour more. Work in clean cold water and dry out of the sun. Black Straw Hat Varnish.— Best al cohol, 4 ounces; pulverized black seal- ing wax, 1 ounce. Place in a phial, and put the phial into a warm place, stirring or shaking occa.sionally until the wax is dissolved. Apply it when warm before the fire or in the sun. This makes a beautiful gloss. DYES 267 Chrome Black for Wool. — For 40 pounds of goods, use blue vitriol, 3 pounds; boil a short time, then dip the wool or fabric f of an hour, airing fre- quently. Take out the goods, and make a dye with logwood, 24 pounds; boil J hour, dip J of an hour, air the goods, and dip i of an hour longer; then wash in strong soapsuds. A good fast color. Black Dye on Wool, for Mixtures. — For SO pounds of wool, take bichromate of potash, 1 pound, 4 ounj:;es; ground argal, 15 ounces; boil together and put in the fabric, stirring well, and let it re- main in the dye 5 hours. Take it out, rinse slightly in clean water, then make a new dye, into which put logwood, IJ pounds. Boil IJ hours, adding cham- ber lye, 6 pints. Let the fabric remain in all night, and wash out in clean water. Bismarck Brown. — Mix together 1 pound Bismarck, 5 gallons water, and f pound sulphuric acid. This paste dissolves easily in hot water and may be used directly for dyeing. A liquid dye may be prepared by making the bulk of the above mixture to 2 gallons with alco- hol. To dye, sour with sulphuric acid; add a quantity of sulphate of soda, im- merse the wool, and add the color by small portions, keeping the temperature under 212° F. Very interesting shades may be developed by combining the color with indigo paste or picric acia. Chestnut Brown for Straw Bonnets. — For 25 hats, use ground sanders, 1| pounds; ground curcuma, 2 pounds; powdered gallnuts or sumac, f pound; rasped logwood, -h pound. Boil to- gether with the hats in a large kettle (so as not to crowd), for 2 hours, then with- draw the hats, rinse, and let them re- main overnight in a bath of nifrate of 4° Be., when they are washed. A darker brown may be obtained by increasing the quantity of sanders. To give the hats the desired luster, they are brushed with a brush of couchgrass, when dry. Cinnamon or Brown for Cotton and Silk. — Give the goods as much color, from a solution of blue vitriol, 2 ounces, to water, 1 gallon, as they will take up in dipping 15 minutes; then turn them through hmewater. This will make a beautiful sky blue of much durability. The fabric should next be run through a solution of prussiate of potash, 1 ounce, to water, 1 gallon. Brown Dye for Cotton or Linen. —Give the pieces a mixed mordant of acetate of alumina and acetate of iron, and then dye them in a bath of madder, or madder and fustic. When the acetate of alu- mina predominates, the dye has an amaranth tint. A cinnamon tint is ob- tained by first giving a mordant of alum, next a madder bath, then a bath of fustic, to which a little green copperas has been added. Brown for Silk. — Dissolve annatto, 1 pound; pearlash, 4 pounds, in boiling water, and pass the silk through it for 1 hours; then take it out, squeeze well, and dry. Next give it a mordant of alum, and pass through a bath of bra- zil wood, and afterwards through a bath of logwood, to which a little green cop- peras has been added; wring it out and dry; afterwards rinse well. Brown Dye for Wool. — This may be induced by a decoction of oak bark, with variety of shade according to the quan- tity employed. If the goods be first passed through a mordant of alum the color will be brightened. Brown for Cotton. — Catechu or terra japonica gives cotton a brown color; blue vitriol turns it to the bronze; green copperas darkens it, when applied as a mordant and the stuff is boiled in the bath. Acetate of alumina as a mordant brightens it. The French color Car- melite is given with catechu, 1 pound; verdigris, 4 ounces; and sal ammoniac, 6 ounces. Dark Snuff Brown for Wool.— For 50 pounds of goods, take camwood, 10 pounds, boil for 20 minutes, then dip the goods for J of an hour; take them out, and add to the dye, fustic, 25 pounds, boil 12 minutes, and dip the goods J of an hour; then add blue vitriol, 10 ounces, copperas, 2 pounds, 8 ounces; dip again 40 minutes. Add more copperas if the shade is required darker. Brown for Wool and Silk. — Infusion or decoction of walnut peels dyes wool and silk a brown color, which is bright- ened by alum. Horse-chestnut peels also impart a brown color; a mordant of muriate of tin turns it on the bronze, and sugar of lead the reddish brown. Alkali Blue and Nicholson's Blue. — Dissolve 1 pound of the dye in 10 gallons boiling water, and add this by small por- tions to the dye bath, which should be rendered alkaline by borax. The fabric should be well worked about between each addition of the color. The tem- perature must be kept under 212° F. To develop the color, wash with water DYES and pass through a bath containing sulphuric acid. Aniline Blue. — To 100 pounds of fabric, dissolve IJ pounds aniline blue in 3 quarts hot alcohol, strain through a filter, and add it to a bath of 130° F.; also 10 pounds Glauber's salts, and 5 pounds acetic acid. Immerse the goods and handle them well for 20 minutes. Next heat slowly to 200° F.; then add 5 Sounds sulphuric acid diluted with water, let the whole boil 20 minutes longer; then rinse and dry. If the aniline be added in 2 or 3 proportions during the process of coloring, it will facilitate the evenness of the color. Blue on Cotton. — For 40 pounds of goods, use copperas, 2 pounds; boil and dip 20 minutes; dip in soapsuds, and return to the dye 3 or 4 times; then make a new bath with prussiate of pot- ash, J pound; oil of vitriol, IJ pints; boil J hour, rinse out and dry. Sky Blue on Cotton. — For 60 pounds of goods, blue vitriol, 5 pounds. Boil a short time, then enter the goods, dip 3 hours, and transfer to a bath of strong limewater. A fine brown color will be imparted to the goods if they are then put through a. solution of prussiate of potash. Blue Dye for Hosiery. — One hundred pounds of wool are colored with 4 pounds Guatemala or 3 pounds Bengal indigo, in the soda or wood vat. Then boil in a kettle a few minutes, S pounds of cud- bear or 8 pounds of archil paste; add 1 pound of soda, or, better, 1 pail of urine; then cool the dye to about 170° F. and enter the wool. Handle well for about 20 minutes, then take it out, cool, rinse, and dry. It makes no difference whether the cudbear is put in before or after the indigo. Three ounces of ani- line purple dissolved in alcohol, i pint, can DC used instead of the cudbear. Wood spirit is cheaper than alcohol, and is much used by dyers for the purpose of dissolving aniline colors. It produces a very pretty shade, but should never be used on mixed goods which have to be bleached. Dark-Blue Dye. — ^This dye is suitable for thibets and lastings. Boil 100 pounds of the fabric for 1 J hours in a solution of alum, 25 pounds; tartar, 4 pounds; mor- dant, 6 pounds; extract of indigo, 6 pounds; cool as usual. Boil in fresh water from 8 to 10 pounds of logwood, in a bag or otherwise, then cool the dye to 170° F. Reel the fabric quickly at first, then let it boil strongly for 1 hour. This is a very good imitation of indigo blue. Saxon Blue. — For 100 pounds thibet or comb yarn, use alum, 20 pounds; cream of tartar, 3 pounds; mordant, 2 pounds; extract of indigo, 3 pounds; or carmine, 1 pound, makes a better color. When all is dissolved, cool the kettle to 180° F.; enter and handle quickly at first, then let the fabric boil | hour, or until even. Long boiling dims the color. Zephyr worsted yarn ought to be pre- pared, first, by boiling it in a solution of alum and sulphuric acid; the indigo is added afterwards. Logwood and Indigo Blue. — For 100 pounds of cloth. Color the cloth first by one or two dips in the vat of indigo blue, and rinse it well, and then boil it in a solution of 20 pounds of alum, 2 pounds of half-refined tartar, and 5 pounds of mordant, for 2 hours ; finally take it out and cool. In fresh water boil 10 pounds of good logwood for half an hour in a bag or otherwise; cool off to 170° F. before entering. Handle well over a reel, let it boil for half an hour; then take it out, cool and rinse. 'This is a very firm blue. Blue Purple for Silk. — For 40 pounds of goods, take bichromate of potash, 8 ounces; alum, 1 pound; dissolve all and bring the water to a boil, and put in the goods; boil 1 hour. Then empty the dye, and make a new dye with logwood, 8 pounds, or extract of logwood, 1 pound 4 ounces, and boil in this 1 hour longer. Grade the color by using more or less logwood, as dark or light color is wanted. Blue Purple for Wool. — One hundred pounds of wool are first dipped in the blue vat to a light shade, then boiled in a solution of 16 pounds of alum and 3 gounds of half -refined tartar, for li ours, the wool taken out, cooled, and let stand 24 hours. Then boil in fresh water 8 pounds of powdered cochineal for a few minutes, cool the kettle to 170° F. Handle the prepared wool in this for 1 hour, when it is ready to cool, rinse and dry. By coloring first with cochi- neal, as aforesaid, and finishing in the blue vat, the fast purple or dahlia, so much admired in German broadcloths, will be produced. Tin acids must not be used in this color. To Make Extract of Indigo Blue. — Take of vitriol, 2 pounds, and stir into it finely pulverized indigo, 8 ounces, stir- ring briskly for the first half hour; then DYES 269 cover up, and stir 4 or 5 times daily for a few days._ Add a little pulverized chalk, stirring it up,_ and keep adding it as long as it foams; it will neutralize the acid. Keep it closely corked. Light Silver Drab. — For 50 pounds of goods, use logwood, J pound; alum, about the same quantity; boil well, enter the goods, and dip them for 1 hour. Grade the color to any desired shade by using equal parts of logwood and alum. GRAY DYES: Slate Dye for Silk. — For a small quan- tity, take a pan of warm water and about a teacupful of logwood liquor, pretty strong, and a piece of pearlash the size of a nut; take gray-colored goods and handle a little in this liquid, and it is finished. If too much logwood is used, the color will be too dark. Slate for Straw Hats. — First, soak in rather strong warm suds for IS minutes to remove sizing or stiffening; then rinse in warm water to get out the soap. Scald cudbear, 1 ounce, in sufiicient water to cover the hat; wort it in this dye at 180° F., until a light purple is obtained. Have a vessel of cold water, blued with the extract of indigo, J ounce, and work or stir the bonnet in this until the tint pleases. Dry, then rinse out with cold water, and dry again in the shade. If the purple is too deep in shade the final slate will be too dark. Silver Gray for Straw. — For 25 hats, select the whitest hats and soften them in a bath of crystallized soda to which some clean limewater has been added. Boil for 2 hours in a large vessel, using for a b^th a decoction of the follow- ing: Alum, 4 pounds; tartaric acid, | pound; some ammoniacal cochineal, and carmine of indigo. A little sulphuric acid may be necessary in order to neu- tralize the alkali of the cochineal dye. If the last-mentioned ingredients are used, let the hats remain for an hour longer in the boiling bath, then rinse in slightly acidulated water. Dark Steel. — Mix black and white wool together in the proportion of 50 pounds of black wool to TJ pounds of white. For large or small quantities, keep the same proportion, mixing care- fully and thoroughly. GREEN DYES: Aniline Green for Silk.— Iodine green or night green dissolves easily in warm water. For a liquid dye 1 pound may be dissolved in 1 gallon alcohol, and mixed with 2 gallons water, containing 1 ounce sulphuric acid. Aniline Green for Wool. — Prepare two baths, one containing the dissolved dye and a quantity of carbonate of soda or borax. In this the wool is placed, and the temperature raised to 212° F. A grayish green is produced, which must be brightened and fixed in a second bath of water 100° F., to which some acetic acid has been added. Cotton requires preparation by sumac. Green for Cotton. — For 40 pounds of goods, use fustic, 10 pounds; blue vitriol, 10 ounces; soft soap, 2i quarts; and log- wood chips, 1 pound 4 ounces. Soak the logwood overnight in a brass vessel, and put it on the fire in the morning, adding the other ingredients. When quite hot it is ready for dyeing; enter the goods at once, and handle well. Differ- ent shades may be obtained by letting part of the goods remain longer in the dye. Green for Silk. — ^Boil green ebony in water, and let it settle. Take the clear liquor as hot as the hands can bear, and handle the goods in it until of a bright yellow. Talce water and put in a little sulphate of indigo; handle goods in this till of the shade desired. The ebony may previously be boiled in a bag to prevent it from sticking to the silk. Green for Wool and Silk. — Take equal quantities of yellow oak and hickory bark, make a strong yellow bath by boiling, and shade to the desired tint by adding a small quantity of extract of indigo. Green Fustic Dye.— For 50 pounds of goods, use 50 pounds of fustic with alum, 11 pounds. Soak in water until the strength is extracted, put in the goods until of a good yellow color, remove the chips, and add extract of indigo in small quantities at a time, until the color is satisfactory. PURPLE AND VIOLET DYES: Aniline Violet and Purple. — Acidulate the bath by sulphuric acid, or use sul- phate of soda; both these substances render the shade bluish. Dye at 212° F. To give a fair middle shade to 10 pounds of wool, a quantity of solution equal to J to f ounces of the solid dye will be re- quired. The color of the dyed fabric is improved by washing in soap and water, and then passing through a bath soured by sulphuric acid. Purple. — For 40 pounds of goods, use 270 DYES alum, 3 pounds; muriate of tin, 4 tea- cups; pulverized cochineal, 1 pound; cream of tartar, 2 pounds. Boil the alum, tin, and cream of tartar, for 20 minutes, add the cochineal and boil 5 minutes; immerse the goods 2 hours; re- move and enter them in a new dye com- posed of brazil wood, 3 pounds; log- wood, 7 pounds; alum, 4 pounds, and muriate of tin, 8 cupf uls, adding a little extract of indigo. Purple for Cotton. — Get up a tub of hot logwood liquor, enter 3 pieces, give them 5 ends, and hedge out. Enter them in a clean alum tub, give them 5 ends, and hedge out. Get up another tub of logwood liquor, enter, give them 5 ends, and hedge out; renew the alum tub, give 5 ends in that, and finish. Purple for Silk. — For 10 pounds of goods, enter the goods in a blue dye bath, and secure a light-blue color, dry, and dip in a warm solution containing alum, 2J pounds. Should a deeper color be required, add a little extract of indigo. Solferino and Magenta for Woolen, Silk, or Cotton." — For 1 pound of woolen goods, magenta shade, 96 grains, apothe- caries' weight, of aniline red, will oe re- quired. Dissolve in a little warm alco- hol, using, say, 6 fluidounces, or about 6 gills alcohol per ounce of aniline. Many dyers use wood spirits because of its cheapness. For a solferino shade, use 64 grains aniline red, and dissolve in 4 ounces alcohol, to each 1 pound of goods. Cold water, 1 quart, will dissolve these small quantities of aniline red, but the cleanest and quickest way will be found by using the alcohol, or wood spirits. Clean the cloth and goods by steeping at a gentle heat in weak soapsuds, rinse in several masses of clean water and lay aside moist. The alcoholic solution of aniline is to be added from time to time to the warm or hot dye bath, till the color on the goods is of the desired shade. The goods are to be removed from the dye bath before each addition of the alcoholic solution, and the bath is to be well stirred before the goods are re- turned. The alcoholic solution should be first dropped into a little water, and well mixed, and the mixture should then be strained into the dye bath. If the color is not dark enough after working from 20 to 30 minutes, repeat the re- moval of the goods from the bath, and the addition of the solution, and the re- immersion of the goods from 15 to 30 minutes more, or until suited, then re- move from the bath and rinse in several masses of clean water, and dry in the shade. Use about 4 gallons water for dye bath for 1 pound of goods; less water for larger quantities. Violet for Silk or Wool. — A good violet dye may be given by passing the goods first through a solution of verdigris, then through a decoction of logwood, and lastly through alum water. A fast violet may be given by dyeing the goods crim- son with cochineal, without alum or tartar, and after rinsing passing them through the indigo vat. Linens or cot- tons are first galled with 18 per cent of gallnuts, next passed through a mordant of alum, iron liquor, and sulphate of copper, working them well, then worked in a madder bath made with an equal weight of root, and lastly brightened with soap or soda. Violet for Straw Bonnets. — Take alum, 4 pounds; tartaric acid, 1 pound; chlor- ide of tin, 1 pound. Dissolve and boil, allowing the hats to remain in the boiling solution 2 hours ; then add enough decoc- tion of logwood, carmine, and indigo to induce the desired shade, and rinse finally in water in which some alum has been dis- solved. Wine Cplor. — For 60 pounds of goods, use camwood, 10 pounds, and boil 20 minutes; dip the goods J hour, boil again, and dip 40 minutes; then darken with blue vitriol, 15 ounces, and 5 pounds of copperas. Lilac for Silk. — For 5 pounds of silk, use archil, 7J pounds, and mix well with the liquor. Make it boil I hour, and dip the silk quickly; then let it cool, and wash in river water. A fine half violet, or lilac, more or less full, will be obtained. RED, CRIMSON, AND PINK DYES: Aniline Red. — Inclose the aniline in a small muslin bag. Have a kettle (tin or brass) filled with moderately hot water and rub the substance out. Then immerse the goods to be colored, and in a short time they are done. It improves the color to wring the goods out of strong soapsuds before putting them in the dye. This is a permanent color on wool or silk. Red Madder. — To 100 pounds of fabric, use 20 pounds of alum, 6 pounds of tar- tar, and 6 pounds of muriate of tin. When these are dissolved, enter the goods and let them boil for 2 hours, then take out, let cool, and lay overnight. Into fresh water, stir 75 pounds of good DYES 271 madder, and enter the fabric at 120° P. and bring it up to 200° F. in the course of an hour. Handle well to secure even- ness, then rinse and dry. Red for Wool. — For 40 pounds of goods, make a tolerably thick paste of lac dye and sulphuric acid, and allow it to stand for a day. Then take tartar, 4 pounds, tin liquor, 2 pounds 8 ounces, and 3 pounds of the paste; make a hot bath with sufficient water, and enter the goods for J hour; afterwards care- fully rinse and dry. Crimson for Silk. — For 1 pound of goods, use alum, 3 ounces; dip at hand heat 1 hour; take out and drain, while making a new dye, by boiling for 10 minutes, cochineal, 3 ounces; bruised nutgalls, 2 ounces; and cream of tartar, J ounce, in 1 pail of water. When a little cool begin to dip, raising the heat to a boil, continuing to dip 1 hour. Wash and dry. Aniline Scarlet. — For every 40 pounds of goods, dissolve 5 paunds white vitriol (sulphate of zinc) at 180° P., place the goods in this bath for 10 minutes, then add the color, prepared by boiling for a few minutes, 1 pound aniline scarlet in 3 gallons water, stirring the same con- tinually. This solution has to be fil- tered before being added to the bath. The goods remain in the latter for 15 minutes, when they have become browned and must be boiled for another half hour in the same bath after the so- lution of sal ammoniac. The more of this is added the deeper will be the shade. Scarlet with Cochineal. — For 50 pounds of wool, yarn, or cloth, use cream of tar- tar, 1 pound 9 ounces; cochineal, pul- verized, 12^ ounces; muriate of tin or scarlet spirit, 8 pounds. After boiling the dye, enter the goods, work them well for 15 minutes, then boil them IJ hours, slowly agitating the goods while boiling, wash in clean water, and dry out of the sun. Scarlet with Lac Dye.— For 100 pounds of flannel or yarn, take 25 pounds of ground lac dye, 15 pounds of scarlet spirit (made as per directions be- low), 5 pounds of tartar, 1 pound of flay- ine, or according to shade, 1 pound of tin crystals, 5 pounds of muriatic acid. Boil all for 15 minutes, then cool the dye to 170° P. Enter the goods, and handle them quickly at first. Let boil 1 hour, and rinse while yet hot, before the gum and impurities harden. This color stands scouring with soap better than cochineal scarlet. A small quantity of sulphuric acid may be added to dissolve the gum. Muriate of Tin or Scarlet Spirit. — Take 16 pounds muriatic acid, 22° Be.; 1 pound feathered tin, and water, 2 pounds. The acid should be put in a stoneware pot, and the tin added, and allowed to dissolve. The mixture should be kept a few days before using. The tin is feathered or granulated by melting in a suitable vessel, and pouring it from a height of about 5 feet into a pailful of water. This is a most powerful agent in certain colors, such as scarlets, or- anges, pinks, etc. Pink for Cotton. — For 40 pounds of goods, use redwood, 20 pounds; muriate of tin, 2J pounds. Boil the redwood 1 hour, turn off into a large vessel, add the muriate of tin, and put in the goods. Let it stand 5 or 10 minutes, and a good fast pink will be produced. Pink for Wool. — For 60 pounds of goods, take alum, 5 pounds 12 ounces; boil and immerse the goods SO minutes; then add to the dye cochineal well pul- verized, 1 pound, 4 ounces; cream of tartar, 5 pounds; boil and enter the goods while boiling, until the color is satisfac- tory. YELLOW, ORANGE, AND BRONZE DYES: Aniline Yellow. — This color is slightly soluble in water, .and for dyers' use may be used directly for the preparation of the bath dye, but is best used by dis- solving 1 pound of dye in 2 gallons alco- hol. Temperature of bath should be under 200° F. The color is much im- proved and brightened by a trace of sul- phuric acid. Yellow for Cotton. — For 40 pounds goods, use sugar of lead, 3 pounds 8 ounces; dip the goods 2 hours. Make a new dye with bichromate of potash, 2 pounds; dip until the color suits, wring out and dry. If not yellow enough re- peat the operation. Yellow for Silk.— For 10 pounds of goods, use sugar of lead, TJ ounces; alum, 2 pounds. Enter the goods, and let them remain 12 hours; remove them, drain, and make a new dye with fustic, 10 pounds. Immerse until the color suits. Orange. — I. — For 50 pounds of goods, use argal, 3 pounds; muriate of tin, 1 quart; boil and dip 1 hour; then add to the dye, fustic, 25 pounds; madder, 2i 272 DYES quarts; and dip again 40 minutes. If preferred, cochineal, 1 pound 4 ounces, may be used instead of the madder, as a better color is induced by it. II. — For 40 pounds of goods, use sugar of lead, 2 pounds, and boil 15 minutes. When a little cool, enter the goods, and dip for 2 hours, wring them out, make a fresh dye with bichromate of potash, 4 pounds; madder, 1 pound, and immerse until the desired color is secured. The shade may be varied by dipping in limewater. Bronze. — Sulphate or muriate of man- ganese dissolved in water with a little tartaric acid imparts a beautiful bronze tint. The stuff after being put through the solution must be turned through a weak lye of potash, and afterwards through another of chloride of lime, to brighten and fix it. Prussiate of copper gives a bronze or yellowish-brown color to silk. The piece well mordanted with blue vitriol may be passed through a. solution of prussiate of potash. Mulberry for Silk. — For 5 pounds of silk, use alum, 1 pound 4 ounces; dip 50 minutes, wash out, and make a dye with brazil wood, 5 ounces, and logwood, IJ ounces, bv boiling together. Dip in this i hour; then add more brazil wood and logwood, equal parts, until the color suits. FEATHER DYES. I. — Cut some white ciird soap in small pieces, pour boiling water on them, and add a little pearlasn. When the soap is quite dissolved, and the mixture cool enough for the hand to bear, plunge the feathers into it, and draw them through the hand till the dirt appears squeezed out of them; pass them through a clean lather with some blue in it; then rinse them in cold water with blue to give them a good color. Beat them against the hand to shake off the water, and dry by shaking them near a fire. When perfect- ly dry, coil each fiber separately with a blunt knife or ivory folder. II. — ^Black. — Immerse for 2 or 3 days in a bath, at first hot, of logwood, 8 parts, and copperas or acetate of iron, 1 part. III. — Blue. — Same as II, but with the indigo vat. IV. — Brown. — By using any of the brown dyes for silk or woolen. V. — Crimson. — A mordant of alum, followed by a hot bath of brazil wood, afterwards by a weak dye of cudbear. VI. — pink or Rose. — With safflower or lemon juice. VII.— Plum.— With the red dye, fol- lowed by an alkaline bath. VIII. — ^Red. — A mordant of alum, followed by a bath of brazil wood. IX. — Yellow. — A mordant of alum, followed by a bath of turmeric or weld. X. — Green. — Take of verdigris and verditer, of each 1 ounce; gum water, 1 pint; mix them well and dip the feath- ers, they having been first soaked in hot water, into the said mixture. XI. — ^Purple. — Use lake and indigo. XII. — Carnation. — Vermilion and smalt. DYES FOR ARTIFICIAL FLOWERS. The French employ velvet, fine cam- bric, and kid for the petals, and taffeta for the leaves. Very recently thin plates of bleached whalebone have been used for some portions of the artificial flowers. Colors and Stains. — ^I. — Blue. — Indigo dissolved in oil of vitriol, and the acid partly neutralized with salt of tartar or whiting. II. — Green. — A solution of distilled verdigris. III. — Lilac. — Liquid archil. IV. — Red. — Carmine dissolved in a solution of salt of tartar, or in spirts of hartshorn. V. — Violet. — Liquid archil mixed with a little salt of tartar. VI. — ^Yellow. — Tincture of turmeric. The colors are generally applied with the fingers. DYES FOR FURS: I. — Brown. — Use tincture of logwood. II. — ^Red. — Use ground brazil wood, i pound; wa,ter, IJ quarts; cochineal, j ounce; boil the brazil wood in the water 1 hour; strain and add the cochi- neal; boil 15 minutes. III.-;-Scarlet. — Boil i ounce saffron in J pint of water, and pass over the work Def ore applying the red. IV. — Blue. — Use logwood, 7 ounces; blue vitriol, 1 ounce; water, 22 ounces; boil. V. — ^Purple. — Use logwood, 11 ounces; alum, 6 ounces; water, 29 ounces. _ VI. — Green. — Use strong vinegar, IJ pints; best verdigris, 2 ounces, ground fine; sap green, i ounce; mix all to- gether and Doil. DYES 273 DYES FOR HATS. 1 The hats should be at first strongly galled by boiling a long time in a decoc- tion of galls with a little logwood so that the dye may penetrate into their sub- stance; after which a proper quantity of vitriol and decoction of logwood, with a little verdigris, are added, and the hats kept in this mixture for a considerable time. They are afterwards put into a fresh liquor of logwood, galls, vitriol, and verdigris, and, when the hats are costly, or of a hair which with difficulty takes the dye, the same process is re- peated a third time. For obtaining the most perfect color, the hair or wool is dyed blue before it is formed into hats. The ordinary bath for dyeing hats, em- ployed by London manufacturers, con- sists, for 12 dozen, of 144 pounds of logwood; 12 pounds of green sulphate of iron or copperas; 7J pounds verdigris. The logwood having been introduced into the copper and digested for some time, the copperas and verdigris are added in successive quantities, and in the above proportions, along with every successive 2 or 3 dozen of hats sus- pended upon the dripping machine. Each set of hats, after being exposed to the bath with occasional airings during 40 minutes, is taken oflF the pegs, and laid out upon the ground to be more com- pletely blackened by the peroxydize- ment of the iron with the atmospheric oxygen. In 3 or 4 hours the dyeing is completed. When fully dyed, the hats are well washed in running water. Straw hats or bonnets may be dyed black by boiling them 3 or 4 hours in a strong liquor of logwood, adding a little copperas occasionally. Let the bonnets remain in the liquor all night; then take out to dry in the air. If the black is not satisfactory, dye again after drying. Rub inside and out with a sponge moistened in fine oil; then block. I. — ^Red Dye. — Boil ground brazil wood in a lye of potash, and boil your straw hats in it. II. — Blue Dye. — Take a sufficient quantity of potash lye, 1 pound of litmus or lacmus, ground; make a decoction and then put in the straw, and boil it. TO DYE, STIFFEN, AND BLEACH FELT HATS. Pelt hats are dyed by repeated im- inersion, drawing and dipping in a hot watery solution of logwood, 38 parts; green vitriol, 3 parts; verdigris, 2 parts; repeat the immersions and drawing with exposure to the air 13 or 14 times, or until the color suits, each step in the process lasting from 10 to 15 minutes. Aniline colors may be advantageously used instead of the above. For a stiffen- ing, dissolve borax, 10 parts; carbonate of potash, 3 parts, in hot water; then add shellac, 50 parts, and boil until all is dis- solved; apply with a. sponge or a brush, or by immersing the hat when it is cold, and dip at once in very dilute sulphuric or acetic acid to neutralize the alkali and fix the shellac. Felt hats can be bleached by the use of sulphuric acid gas. LIQUID DYE COLORS. These colors, thickened with a little gum, may be used as inks in writing, or as colors to tint maps, foils, artificial flowers, etc., or to paint on velvet: I. — Blue. — Dilute Saxon blue or sul- phate of indigo with water. If required for delicate work, neutralize with chalk. II. ^Purple.— Add a little alum to a strained decoction of logwood. III. — Green. — Dissolve sa;^ green in water and add a little alum. IV. — Yellow. — Dissolve annatto in a weak lye of subcarbonate of soda or potash. V. — Golden Color. — Steep French berries in hot water, strain, and add a little gum and alum. VI. — Red. — Dissolve carmine in am- monia, or in weak carbonate of potash water, or infuse powdered cochineal in water, strain, and add a little gum in water. UNCLASSIFIED DYERS' RECIPES: To Cleanse Wool. — Make a hot bath composed of water, 4 parts; and urine, 1 part; enter the wool, teasing and opening it out to admit the full action of the liquid. After 20 minutes' immersion, remove from the liquid and allow it to drain; then rinse in clean runnin]^ water, and spread out to dry. The liquid is good for subsequent operations, only keep up the proportions, and use no soap. To Extract Oil Spots from Finished Goods. — Saturate the spot with benzine; then place two pieces of very soft blotting paper under and two upon it, press well with a hot iron, and the grease will be absorbed. , New Mordant for Aniline Colors. — Im- merse the goods for some hours in a bath of cold water in which chloride or acetate of zinc has been dissolved until the solu- tion shows 2° Be. For the wool the ^74 DYES mordanting bath should be at a boiling heat, and the goods should also be placed in a warm bath of tannin, 90° F., for half an hour. In dyeing, a hot solution of the color must be used to which should be added, in the case of the cotton, some chloride of zinc, and, in the case of the wool, a certain amount of tannin solu- tion. To Render Aniline Colors Soluble in Water. — A solution of gelatin in acetic acid of almost the consistence of syrups is first made, and the aniline in fine is gradually added, stirring all the time so as to make a homogeneous paste. The mixture is then to be heated over a water bath to the temperature of boiling water and kept at that heat for some time. Limewater for Dyers' Use. — Put some lime, 1 pound, and strong limewater, IJ pounds, into a pail of water; rummage well for 7 or 8 minutes. Then let it rest until the lime is precipitated and the water clear; add this quantity to a tubful of clear water. To Renew Old Silks. — Unravel and put them in a tub, cover with cold water, and let them remain 1 hour. Dip them up and down, but do not wring; hang up to drain, and iron while very damp. Fuller's Purifier for Cloths.— Dry, pulverize, and sift the following ingredi- ents: Fuller's earth, 6 pounds; French chalk, 4 ounces; pipe clay, 1 pound. Make into a paste with rectified oil of turpentine, 1 ounce; alcohol, 2 ounces; melted oil soap, IJ pounds. Compound the mixture into cakes of any desired size, keeping them in water, or small wooden boxes. To_ Fix Dyes. — Dissolve 20 ounces of gelatin in water, and add 3 ounces of bichromate of potash. This is done in a dark room. The coloring matter is then added and the goods submitted thereto, after which they are exposed to the action of light. The pigment thus becomes in- soluble in water and the color is fast. DYES AND DYESTUFFS. Prominent among natural dyestuffs is the coloring matter obtained from log- wood and known as "hsematein." The color-forming substance (or chromogen), hsematoxylin, exists in the logwood partly free and partly as a glucoside. When pure, hsematoxylia forms nearly colorless crystals, but on oxidation, es- pecially in the presence of an alkali, it IS converted into the coloring matter hsematein, which forms colored lakes with metallic bases, yielding violets. blues, and blacks with various mordants. Logwood comes into commerce in the form of logs, chips, and extracts. The chips are moistened with water and ex- posed in heaps so as to induce fermenta- tion, alkalies and oxidizing agents being added to promote the "curing" or oxida- tion. When complete and the chips have assumed a deep reddish-brown color, the decoction is made which is employed in dyeing. The extract offers convenience in transportation, storage, and use. It is now usually made from logwood chips that have not been cured. The chips are treated in an extractor, pressure often being used. The extract is sometimes adulterated with chestnut, hemlock, and quercitron extracts, and with glucose or molasses. Fustic is the heart-wood of certain species of trees indigenous to the West Indies and tropical South America. It is sold as chips and extract, yields a coloring principle which forms lemon- yellow Takes with alumina and is chiefly used in dyeing wool. Young fustic is the heart-wood of a sumac native to the shores of the Mediterranean, which yields an orange-colored lake with alum- ina and tin salts. Cutch, or catechu, is obtained from the wood and pods of the Acacia catechu, and from the betel nut, both native in India. Cutch appears in commerce in dark-brown lumps, which form a dark- brown solution with water. It contains catechu-tannic acid, as tannin and catechin, and is extensively used in weighting black silks, as a mordant for certain basic coal-tar dyes, as a brown dye on cotton, and for calico printing. Indigo, which is obtained from the glucoside indican existing in the indigo plant and in woad, is one of the oldest dyestuffs. It is obtained from the plant by a process of fermentation and oxida- tion. Indigo appears in commerce in dark-blue cubical cakes, varying very much in composition as they often con- tain indigo red and indigo brown, be- sides moisture, mineral matters, and glutinous substances. Consequently the color varies. Powdered indigo dissolves in concentrated fuming sulphuric acid, forming monosulphonie and disulphonic acids. On neutralizing these solutions with sodium carbonate and precipitating the indigo carmine with common salt there is obtained the indigo extract, solu- ble indigo, and indigo carmine of com- merce. True indigo carmine is the so- dium salt of the disulphonic acid, and when sold dry it is called "indigotine." One of the most important of the recent DYES 275 Achievements of chemistry is the synthetic production of indigo on a commercial scale. 1 Artificial dyestuffs assumed preponder- ating importance with the discovery of the lilac color mauve by Perkin in 1856, and fuchsine or magenta by Verguin in 1895, for with each succeeding year other colors have been discovered, until at the present time there are several thousand artificial organic dyes or colors on the market. Since the first of these were prepared from aniline or its derivatives the colors were known as "aniline dyes," but as a large number are now prepared from other constituents of coal tar than aniline they are better called "coal-tar dyestuffs." There are many schemes of classification. Benedikt-Knecht divides them into I, aniline or amine dyes; II, f)henol dyes; III, azo dyes; IV, quino- ine and acridine derivatives; V, anthra- cene dyes; and VI, artificial indigo. Of the anthracene dyes, the alizarine is the most important, since this is the coloring principle of the madder. The synthesis of alizarine from anthracene was effected by Grabe and Liebermann in 1868. This discovery produced a complete revolution in calico printing, turkey-red dyeing, and in the manu- facture of madder preparations. Madder finds to-day only a very limited applica- tion in the dyeing of wool. In textile dyeing and printing, sub- stances called mordants are largely used, either to fix or to develop the color on the fiber. Substances of mineral origin, such as salts of aluminum, chromium, iron, copper, antimony, and tin, prin- cipally, and many others to a less extent and of organic origin, like acetic, oxalic, citric, tartaric, and lactic acid, sulpho- nated oils, and tannins are employed as mordants. Iron liquor, known as black liquor or pyrolignite of iron, is made by dissolving scrap iron in pyroligneous acid. It is used as a mordant in dyeing silts and cotton and in calico printing. Red liquor is a solution of aluminum acetate in acetic acid, and is produced by acting on calcium or lead acetate solu- tions with aluminum sulphate or the double alums, the supernatant liquid forming the red liquor. The red liquor of the trade is often the sulpho-acetate of alumina resulting when the quantity of calcium or lead acetate is insufficient to completely decompose the aluminum salt. Ordinarily the solutions have a dark-brown color and a strone pyro- ligneous odor. It is called red liquor because it was first used in dyeing reds. It is employed as a mordant by the cotton dyer and largely by the printer. Non-Poisonous Textile and Egg Dyes for Household Use. — The preparation of non-poisonous colors for dyeing fabrics and eggs at home constitutes a separate department in the manufacture of dye- stuffs. Certain classes of aniline dyes may be properly said to form the materials. The essence of this color preparation consists chiefly in diluting or weakening the coal- tar dyes, made m the aniline factories, and -bringing them down to a certain desired shade by the addition of certain chemicals suited to their varying charac- teristics, which, though weakening the color, act at the same time as the so-called mordants. The anilines are divided with refer- ence to their characteristic reactions into groups of basic, acid, moderately acid, as well as dyes that are insoluble in water. In cases where combinations of one or more colors are needed, only dyes of similar reaction can be combined, that is, basic with basic, and acid with acid. For the purpose of reducing the original intensity of the colors, and also as mordants, dextrin, Glauber's salt, alum, or aluminum sulphate is pressed into service. Where Glauber's salt is used, the neutral salt is exclusively em- ployed, which -can be had cheaply and in immense quantities in the chemical industry. Since it is customary to pack the color mixtures in two paper boxes, one stuck into the other, and moreover since certain coal-tar dyes are only used in large crystals, it is only reasonable that the mordants should be calcined and not put up in the shape of crystallized salts, particularly since these latter are prone to absorb the moisture from the air, and when thus wet likely to form a compact mass very difficult to dissolve. This in- convenience often occurs with the large crystals of fuchsine and methyl violet. Because these two colors are mostly used in combination with dextrin to color eggs, and since dextrin is also very hygroscopic, it is better in these in- dividual cases to employ calcined Glau- ber's salt. In the manufacture of egg colors the alkaline coloring coal-tar dyes are mostly used, and they are to be found in a great variety of shades. Of the non-poisonous egg dyes, there are some ten or a dozen numbers, new red, carmine, scarlet, pink, violet, blue, yellow, orange, green, brown, black, heliotrope, etc., which when mixed will 276 DYES enable the operator to form shades almost without number. The manufacture of the egg dyes as carried on in the factory consists in a mechanical mixing of basic coal-tar dye- stuffs, also some direct coloring benzi- dine dyestufis, with dextrin in the ratio of about 1 part of aniline dye to 8 parts of dextrin; under certain circumstances, according to the concentrated state of the dyes, the reducing quantity of the dextrin may be greatly increased. As reducing agents for these colors insoluble sub- stances may also be employed. A part also of the egg dyes are treated with the neutral sulphate; for instance, light brilliant green, because of its rubbing off, is made with dextrin and Glauber's salt in the proportion of 1:3:3. For the dyeing of eggs such color mix- tures are preferably employed as contain along with the dye proper a fixing agent (dextrin) as well as a medium for the superficial mordanting of the eggshell. The colors will then be very brilliant. Here are some recipes: Color Dyestuff by^ PJK ^«.^- Weight ^<="1 *"■» Blue.. .Marine blueB.N... 3.5 35.0 60.0 Brown. . Vesuvin S 30.0 37.5 30.0 Green . .Brilliant green O.. .13.5 18.0 67.5 Orange. Orange II 9.0 18.0 75.0 Red. . .Diamond fuchsine I. 3.5 18.0 75.0 Pinlc . . . Eosin A 4.5 — 90.0 Violet. .Methyl violet 6 B. . 3.6 18.0 75.0 Yellow . Naphtliol yellow S.13.5 36.0 67. 5 Very little of these mixtures suffices for dyeing five eggs. The coloring matter is dissolved in 600 parts by weight of boil- ing water, while the eggs to be dyed are boiled hard, whereupon they are placed in the dye solution until they seem suffi- ciently colored. The dyes should be put up in waxed paper. Fast Stamping Color. — Rub up sepa- rately, 20 parts of cupric sulphate and 20 parts of anilic hydrochlorate, then mix carefully together, after adding 10 parts of dextrin. The mixture is next ground with 5 parts of glycerine and sufficient water until a thick, uniform, paste-like mass results, adapted for use by means of stencil and bristle-brush. Aniline black is formed thereby in and upon the fiber, which is not destroyed by boiling. New Mordanting Process.— The or- dinary method of mordanting wool with a bichromate and a reducing agent al- ways makes the fiber more or less tender, and Amend proposed to substitute the use of a solution of chromic acid contain- ing 1 to 2 per cent of the weight of the wool, at a temperature not exceeding 148° F., and to treat it afterwards with a solution of sodium bisulphite. Accord- ing to a recent French patent, better results are obtained with neutral or slight- ly basic chromium sulphocyanide. This salt, if neutral or only slightly basic, will mordant wool at 148° F. The double sulphocyanide of chromium and ammo- nium, got by dissolving chromic oxide in ammonium sulphocyanide, can also be used. Nevertheless, in order to precipi- tate chromium chromate on the fiber, it is advisable to have a soluble chromate and a nitrate present, as well as a soluble copper salt and a free acid. One ex- ample of the process is as follows: Make the bath with 2 to 3 per cent of ammonio- chromium sulphocyanide, one-half of 1 per cent sodium bichromate, one-third of 1 per cent sodium nitrite, one-third of 1 per cent sulphate of copper, and 1.5 per cent sulphuric acid — percentages based on the weight of the wool. Enter cold and slowly heat to about 140° to 150° F. Then work for half an hour, lift and rinse. The bath does not exhaust and can be reinforced and used again. Process for Dyeing in Khaki Colors. — Bichromate of potash or of soda, chloride of manganese, and a solution of acetate of soda or formiate of soda (15° Be.) are dissolved successively in equal quan- tities. The solution thus composed of these three salts is afterwards diluted at will, according to the color desired, con- stituting a range from a dark brown to a light olive green shade. The propor- tions of the three salts may be increased or diminished, in order to obtain shades more or less bister. Cotton freed from its impurities by tho usual methods, then fulled as ordinarily, is immersed in the bath. After a period, varying according to the results desired, the cotton, threads, or fabrics of cotton, are washed thoroughly and plunged, still wet, into an alkaline solution, of which the concentration ought never to be less than_14° Be. This degree of concentra- tion is necessary to take hold of the fiber when the cotton comes in contact with the alkaline bath, and by the contraction which takes place the oxides of chrome and of manganese remain fixed in the fibers. This second operation is followed by washing in plenty of water, and then the cotton IS dried in the open air. If the color is judged to be too pale, the threads or fabrics are immersed again in the initial bath, left the necessary time for obtaining the desired shade, and then DYES 277 hashed, but without passing them through an alkaline bath. This process furnishes ai series of khaki colors, solid to light, to fulling and to chlorine. LAKES: ! Scarlet Lake. — In a vat holding 120 gallons provided with good agitating ap- paratus, dissolve 8 pounds potash alum in 10 gallons hot water and add 50 gallons uold water. Prepare a solution of 2 pounds ammonia soda and add slowly to the alum solution, stirring all the time. In a second vessel dissolve 5 pounds of brilliant scarlet aniline, by first making it into a paste with cold water and after- wards pouring boiling water over it; now let out steam into the vat until a temper- ature of 150° to 165° F. is obtained. Next dissolve 10 pounds barium chloride in 10 gallons hot water in a separate vessel, add this very slowly, stir at least 3 hours, keeping up temperature to the same figures. Fill up vat with cold water and leave the preparation for the night. Next morning the liquor (which should be of a bright red color) is drawn off, and cold water again added. Wash by de- cantation 3 times, filter, press gently, and make into pulp. It is very important to precipitate the aluminum cold, and heat up before adding the dyestuff. The chemicals used for precipitating must be added very slowly and while constantly stirring. The quantity used for the three wash- ings is required each time to be double the quantity originally used. I. — ^Madder Lakes. — Prepare from the root 1 pound best madder, alum water (1 pound alum with IJ gallons of water), saturated solution of carbonate of potash (f pound carbonate of potash to i gallon of water). The madder root is inclosed in a linen bag of fine texture, and bruised with a pestle in a large mortar with 2 gallons of water (free from lime) added in small quantities at a time, until all the coloring matter is extracted. Make this liquor boil, and gradually pour into the boiling water solution. Add the carbonate of jiotash solution gradually, stirring all the time. Let the mixture stand for 12 hours and drop and dry as required. II. — Garancine Process. — This is the method usually employed in preference to that from the root. Garancine is pre- pared by steeping madder root in sul- phate of soda and washing. Garancine 2 pounds Alum (dissolved in a little water) 2 pounds Chloride of tin J ounce Sufficient carbonate of potash or soda to precipitate the alum. Boil the garancine in 4 gallons of pure water; add the alum, and continue boiling from 1 to 2 hours. Allow the product to partially settle and filter through flannel before cooling. Add to the filtrate the chloride of tin, and sufficient of the pot- ash or soda solution to precipitate the alum; filter through flannel and wash well. The first filtrate may be used for lake of an inferior quality, and the garancine originally employed may also be treated as above, when a lake slightly interior to the first may be obtained. Maroon Lake. — Take of a mixture made of: f Sapan wood ) -a . I Lima wood \ ■■■■ ^^ P^^'^ Soda crystals 42 parts Alum 56 parts Extract the color from the woods as for rose pink, and next boil the soda and alum together and add to the woods solution cold. This must be washed clean before adding to the wood liquor. Carnation Lake. — Water 42 gallons Cochineal 12 pounds Salts of tartar IJ pounds Potash alum | pound Nitrous acid, nitro- muriate of tin 44 pounds Muriatic acid, nitro- muriate of tin 60 pounds Pure block tin, nitro- muriate of tin 22 pounds Should give specific gravity 1.310. Boil the water with close steam, taking care that no iron touches it; add the cochineal and boil for not more than five minutes; then turn off the steam and add salts of tartar and afterwards carefully add the alum. If it should not rise, put on steam until it does, pass through a 120-mesh sieve into a settling vat, and let it stand for 48 hours (not for precipita- tion). Add gradually nitromuriate of tin until the test on blotting paper (given below) shows that the separation is complete. Draw off clear water after it has settled, and filter. To test, rub a little of the paste on blotting paper, then dry on steam chest or on the hand, and if on bending it cracks, too much tin has been used. To Test the Color to See if it is Pre- cipitating. — Put a drop of color on white blotting paper, and if the color spreads, it is not precipitating. If there is a color- 278 D\ES less ring around the spot of color it shows that precifiitation is taking place; if the white ring is too strong, too much has been used. BLACK LAKES FOR WALL-PAPER IVIANUFACTURE: Bluish-Black Lake. —Boil well 220 parts of Domingo logwood in 1,000 parts of water to which 2 parts of am- monia soda have been added; to the boil- ing logwood add next 25 parts of green vitriol arid then 3.5 parts of sodium bi- chromate. The precipitated logwood lake is washed out well twice and then filtered. Black Lake Ai. — Logwood extract, Sanford, 120 parts; green vitriol, 30 Earts; acetic acid, 7° Be., 10 parts; sodium ichromate, 16 parts; powdered alum, 20 parts. The logwood extract is first dissolved in boiling water and brought to 25° Be. by the addition of cold water. Then the remaining ingredients are added in rotation, the salts in substance, finely powdered, with constant stirring. After the precipitation, wash twice and filter. Aniline Black Lake. — In the precipi- tating vat filled with 200 parts of cold water enter with constant stirring in the order mentioned the following solutions kept in readiness: Forty parts of alum dis- solved in 800 parts of water; 10 parts of calcined soda dissolved in 100 parts of water; 30 parts of azo black dissolved in 1,500 parts of water; 0.6 parts of "brilliant green" dissolved in 100 parts of water; 0.24 parts of new fuchsine dissolved in 60 parts of water; 65 parts of barium chloride dissolved in 1,250 parts of water. Allow to settle for 24 hours, wash the lake three times and filter it. Carmine Lake for Wall Paper and Colored Papers. — Ammonia soda (98 per cent), 57.5 parts by weight; spirits (96 per cent), 40 parts by weight; corallin (dark), 10 parts by weight; corallin (pale), 5 parts by weight; spirit of sal ammoniac (16° Be.), 8 parts by weight; so- dium phosphate, 30 parts by weight; stan- nic chloride, 5 parts by weight; barium chloride, 75 parts by weight. Dissolve the corallin m the spirit, and filter the solution carefully into eight bottles, each containing 1 part of the above quantity of spirit of sal ammoniac, and let stand. The soda should meanwhile be dissolved • in hot water and the solution run into the stirring vat, in which there is cold water to the height of 17 inches. Add the sodiuin phosphate, which has been dissolved in a copper vessel, then the corallin solution, and next the stannic chloride diluted with 3 pailfuls of cold water. Lastly the barium chloride solu- tion is added. The day previous barium chloride is dissolved in a cask in as little boiling water as possible, and the recep- tacle IS filled entirely with cold water. On the day following, allow the same to run in slowly during a period of three- fourths of an hour, stir till evening, allow to settle for 2 days, draw off and filter. English Pink.— Quercitron bark. . . . 200 parts Lime. 10 parts Alum 10 parts Terra alba 300 parts Whiting 200 parts Sugar of lead 7 parts Put the bark into a tub, slake lime in another tub, and add the clear limewater to wash the bark; repeat this 3 times, letting the bark stand in each water 24 hours. Run' liquor into the tub below and add the terra alba and whiting; wash well in the top tub and run into liquor below through a hair sieve, stirring well. Dissolve the sugar of lead in warm water and pour gently into the tub, stir- ring all the time; then dissolve the alum and run in while stirring; press slightly, drop, and dry as required. Dutch Pink.— I. — Quercitron bark. . . 200 parts Lime 20 parts Alum 20 parts Whiting 100 parts Terra alba 200 parts White sugar of lead 10 parts 11. — Quercitron bark.. . 300 parts Lime 10 parts Alum 10 parts Terra alba 400 parts Whiting 100 parts Sugar of lead 7 parts Put the bark into a tub with cold water, slake 28 pounds of lime, and add the limewater to the bark. (This draws all the color out of the wood.) Dissolve alum in water and run it into bark liquor. The alum solution must be just warm. Dissolve sugar of lead and add it to above, and afterwards add the terra alba and whiting. The product should now be in a pulp, and must be dropped and dried as required. Rose Pink. — I. — Light. Sapan wood 100 parts Lima loo parts Paris white 200 parts Alum 210 parts DYES 279 II.— Deep. Sapau wood 300 parts Lima 300 parts Terra alba 400 parts Paris white 120 parts Lime 12 parts Alum 200 parts III. — Sapan wood 200 parts Alum 104 parts Whiting 124 parts Boil the woods together in 4 waters and let the products stand until cold; wash in the whiting and terra alba through a hair sieve, and afterwards run in the alum. If a deep color is required slake 12 pounds lime and run it in at the last through a hair sieve. Let the alum be just warm or it will show in the pink. D.YES, COLORS, ETC., FOR TEXTILE GOODS: Aniline Black. — This black is pro- duced by carefully oxidizing aniline hy- drochloride. The exact stage of oxida- tion must be carefully regulated or the product will be a different body (qui- none). There are several suitable oxi- dizing agents, such as chromic acid, potassic bichromate, ferrocyanide of potassium, etc., but one of the easiest to manipulate is potassic chlorate, which by reacting on copper sulphate pro- duces potassic sulphate and copper chlorate. This is easily decomposed, its solution giving off gases at 60° F. which consist essentially of chloride an- hydrate. But one of the most useful agents for the production of aniline black is vanadate of ammonia, 1 part of which will do the work of 4,000 parts of copper. Many other salts besides cop- per may be used for producing aniline black, but the following method is one of the best to follow in making this dye: Aniline hydrochlor- ide 40 parts Potassic chlorate 20 parts Copper sulphate. ... 40 parts Chloride of ammo- nia (sal ammoniac) 16 parts Warm water at 60° F 500 parts After warming a few minutes the mass froths -up. The vapor should not be inhaled. Then set aside, and if the mass is not totally black in a few hours, again heat to 60° F., and expose to the air for a few days, and finally wash away all the soluble salts and the black is fit for use. Aniline Black Substitutes. — I. — Make a solution of Aniline (fluid measure) 30 parts Toluidine (by weight). 10 parts Pure hydrochloric acid, B. P. (fluid measure) 60 parts Soluble gum arable (fluid measure) 60 parts Dissolve the toluidine in the aniline and add the acid, and finally the mu- cilage. II. — Mix together at gentle heat: Starch paste 13 quarts Potassic chlorate . . 350 scruples Sulphate of copper. 300 scruples Sal ammoniac 300 scruples Aniline hydrochlor- ide 800 scruples Add 5 per cent of alizarine oil, and then steep it for 2 hours in the dye bath of red hquor of 2^° Tw. Dye in a bath made up of J ounce of rose bengal and IJ ounces of red liquor to every 70 ounces of cotton fabric dyed, first enter- ing the fabric at 112° F., and raising it to 140° F., working for 1 hour, or until the desirable shade is obtained; then rinse and dry. Blush Pink on Cotton Textile.— Rose bengal or fast pink will give this shade. The mordant to use is a 5 per cent solu- tion of stannate of soda and another 5 per cent solution of alum. Dissolve in a vessel (a) 8 J parts of chloride of copper in 30 parts of water, and then add 10 parts chloride of sodium and 9 J parts liquid ammonia. In a second vessel dissolve (6) 30 parts aniline hydrochlorate in 20 parts of water, and add 20 parts of a solution of gum arabic prepared by dissolving 1 part of gum in 2 parts of water. Finally mix 1 part of a with 4 parts of 6; expose the mixture to the air for a few days to develop from a greenish to a black color. Dilute for use, or else dry the thick compound to a powder. If new liquor is used as the mordant, mix 1 part of this with 4 parts of water, and after working the fabric for 1 to 2 hours in the cold liquor, wring or squeeze it out and dry; before working it in the dye liquor, thoroughly wet the fabric by rinsing it in hot water at a spring boil; then cool by washing in the dye bath until the shade desired is at- tained, and again rinse and dry. The red liquor or acetate of aluminum may be made by dissolving 13 ounces of alum in 69 ounces of water and mixing this with a solution made by dissolving 7i ounces of acetate of lime, also dis- solved in 69 ounces of water. Stir well, allow it to settle, and filter or decanter DYEING ofE the clear fluid for use, and use this mixture 2i° Tw. The fabric is first put into the stannate of soda mordant for a few minutes, then wrung out and put into the alum mor- dant for about the same time; then it is again wrung out and entered in the dye bath at 120° F. and dyed to shade de- sired, and afterwards rinsed in cold water and dried. The dye bath is made of { ounce of rose bengal per gallon of water. If fast pink is the dye used, the mordant used would be Turkey red oil and red liquor. Use 8 ounces of Turkey red oil per gallon of water. Put the fabric into this, then wring out the textile and work in red liquor of 7° Tw. for about 2 hours, then wring out and dye in a separate bath made up of eosine, or fast pink, in water in whicn a little alum has been dis- solved. To Dye Woolen Yarns, etc., Various Shades of Magenta. — To prepare the dye bath dissolve 1 pound of roseine in 15 gallons of water. For a concentrated solution use only 10 gallons of water, while if a very much concentrated color is needed, dissolve the dye in methylated spirit of wine, and dilute this spirituous tincture with an equal quantity of water. No mordant is required in using this color in dyeing woolen goods. The dye- ing operation consists simply in putting the goods into the dye bath at 190° F. and workingj them therein until the de- sired shade is obtained, then rinsing in cold water and drying. If the water used in preparing the dye is at all alkaline, make use of the acid roseine dissolved in water in which a little sulphuric acid has been mixed, and work, gradually raising to the boiling point, and keep up the temperature for 30 minutes, or according to the shade desired. Put about 20 per cent sul- phate of soda into the dye bath. Maroon Dye for Woolens. — To pre- pare the dye bath, dissolve about 1 pound of maroon dye in boiling water, with or without the addition of methylated spirit of wine. For dark shades dissolve in boiling water, only slightly acidulated with hydrochloric acid, and filter before use. No mordant is required with this dye when dyeing wool, but for the bright shade a little curd soap may be dissolved in the dye bath before proceeding to dye the wool, while for the dark shade it is best to put in a little acetate of soda. To use the dye, first dye in a weak bath and gradually strengthen it until the desired shade is obtained, at the same time grad- ually increasing the teinperature until just below the boiling point. To Dye Woolens with Blue de Lyons.— Dissolve 8 ounces of blue dye in 1 gallon of methylated spirit, which has been slightly soured with sulphuric acid, and boil the solution over a water b.ath until it is perfectly clear. To prepare the dye bath, add more or less of the spirituous tincture to a 10- or 15-gallon dye bath of water, which has been slightly soured with sulphuric acid. Rich Orange on Woolen. — Dissolve 1 pound of phosphine in 15 gallons of boiling water, and stir the fluid until the acid has dissolved. No mordant is re- quired to dye wool. First work the goods about in a weak solution, and finally in one of full strength, to which a little acetate of soda has been added. Keep up the temperature to just below the boiling point while working the goods in the dye bath. DYEING SILK OR COTTON FABRICS WITH ANILINE DYES: Aniline Blue on Cotton. — Prepare a dye bath by dissolving 1 pound of ani- line blue (soluble in spirit) in 10 gallons of water, and set it aside to settle. Meanwhile prepare a mordant while boiling 35 ounces of sumac (or 5 J ounces tannic acid in 30 gallons of water) and then dissolve therein 17 ounces of curd soap. Boil up and filter. Put the cotton goods in the hot liquid and let them remain therein for 12 hours. Then wring them out and make up a dye bath of 2J° Tw. with red liquor. Add dye color according to the shade desired. Put in the goods and work them until the color is correct, keeping the temperature at the boiling point. To Dye Silk a Delicate Greenish Yel- low. — Dissolve 2 ounces of citronine in 1 gallon of methylated spirit and keep the solution hot over a water bath until per- fectly clear. To prepare silk fabrics, wash them in a weak soap liquor that has been just sweetened (i. e., its alkalinity turned to a slight sourness) with a, little sulphuric acid. Work the goods until dyed to shade, and then rinse them in cold water that has been slightly acidulated with acetic, tartaric, or citric acid. To Dye Cotton Dark Brown.— Pre- pare a mordant bath of 10 pounds of catechu, 2 pounds of logwood extract, and J pound magenta (roseine), and bring to a boil; work the goods therein for 3 hours at that temperature; then put DYEING 281 into a fresh dye bath made up of 3 pounds of bichromate of potash and 2 pounds of sal soda, and dye to shade. These proportions are for a dye bath to dye 100 pounds of cotton goods at a time. To Dye Silk Peacock Blue.— Make up ii dye bath by putting 1 pint of sul- phuric acid at 170° Tw., and 10 ounces of methylin blue crystal dye liquor of 120° to 160° Tw., with a dye bath that will hold 80 pounds of goods. Put in the silk at 130° P., and raise to 140° P., and work up to shade required. To Dye Felt Goods.— Owing to this material being composed of animal and vegetable fiber it is not an easy matter al- ways to produce evenness of shade. The best process to insure success is to steep well the felt in an acid bath of from 6° to 12° Be., and then wash away all traces of acid. Some dyers make the fulling stork the medium of conveying the dye, while others partially dye before fulling, or else dye after that process. The fulling stock for 72 ounces of beaver consists of a mixture of Black lead or plum- bago 16 ounces Venetian red 48 ounces Indigo extract (fluid). S ounces Ordinary Drab. — Common plumbago. . 12 ounces Best plumoago 12 ounces Archil extract (fluid).. 15 ounces Indigo extract 10 ounces Mix into fluid paste with water and add sulphuric acid at 30° Tw. Por the dye liquor make a boiling-hot solution of the aniline dye and allow it to cool; then put into an earthenware vessel holding water and heat to 83° P., and add suflicient dye liquor to give the quantity of felt the de- sired shade. Pirst moisten well the felted matter (or the hair, if dyed before felting) with water, and then work it about in the above dye bath at 140° P. To deepen the shade, add more dye liquor, lifting out the material to be dyed before adding the fresh dye liquor, so that it can be well stirred up and thoroughly mixed with the exhausted bath. Brown Shades. — Bismarck brown will give good results, particularly if the dyed goods are afterwards steeped or passed through a weak solution (pale straw color) of bichromate of potash. This will give a substantial look to the color. Any of the aniline colors suitable for cotton or wool, or those suited for mixed cotton and wool goods may be used. Blue. — Use either China blue, dense ferry blue, or serge blue, first making the material acid before dyeing. Green. -^ Use brilliant green and have the material neutral, i. e., neither acid nor alkali; or else steep in a bath of sumac before dyeing. Plum Color. — Use maroon (neutral or acid) and work in an acid bath or else sumac. Black. — Use negrosin in an acid bath, or else mordant in two salts and dye slightly acid. Soluble Blue, Ball Blue, etc.— A solu- ble blue has for many years been readily obtainable in commerce which is similar in appearance to Prussian blue, but, un- like the latter, is freely soluble in water. This blue is said to be potassium ferri- ferrocyanide. To prepare instead of buying it ready inade, gradually add to a boiling solu- tion of potassium ferricyanide (red prus- siate of potash) an equivalent quantity of hot solution of ferrous sulphate, boil- ing for 2 hours and washing the precip- itate on a filter until the washings assume a dark-blue color. The moist precipitate can at once be dissolved by tne further addition of a suflicient (Quantity of water. About 64 parts of the iron salt is neces- sary to convert 100 parts of the potassium salt into the blue compound. If the blue is to be sent out in the liquid form, it is desirable that the solu- tion should be a perfect one. To attain that end the water employed should be tree from mineral substances, and it is best to filter the solution through several thicknesses of fine cotton cloth before bottling; or if made in large quantities this method may be modified by allow- ing it to stand some days to settle, when the top portion can be siphoned off for use, the bottom only requiring filtration. The ball blue sold for laundry use consists of ultramarine. Balls or tablets of this substance are formed by mixing it with glucose or glucose and dextrin, and pressing into shape. When glucose alone is used, the product has a tendency to become soft on keeping, which tend- ency 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. New Production of Indigo. — Porty parts of a freshly prepared ammonium sulphide solution containing 10 per cent 282 DYEING— EGGS of hydrpgen sulphide are made to flow quickly and witn constant stirring into a heated solution of 20 parts of isatine anilide in 60 parts of alcohol. With spontaneous heating and temporary green and blue coloration, an immediate separation of indigo in small crystalline needles of a faint copper luster takes place. Boil for a short time, whereupon the indigo is filtered off, rewashed with alcohol, and dried. To Dye Feathers. — A prerequisite to the dyeing of feathers appears to be soft- ening them, which is sometimes accom- plished by soaking them in warm water, and sometimes an alkali, such as ammo- nium or sodium carbonate, is added. This latter method would apparently be preferable on account of the removal of any greasy matter that may be present. When so prepared the feathers may be dyed by immersion in any dye liquor. An old-time recipe for black is immersion in a bath of ferric nitrate suitably diluted with water, and then in an infusion of equal parts of logwood and quercitron. Doubtless an aniline dye would prove equally efScient and would be less trou- blesome to use. After dyeing, feathers are dipped in an emulsion formed by agitating any bland fixed oil with water containing a little Cotassium carbonate, and are then dried y gently swinging them in warm air. This operation gives the gloss. Curling where required is effected by slightly warming the feathers before a fire, and then stroking with a blunt me- tallic edge, as the back of a knife. A certain amount of manual dexterity is necessary to carry the whole process to a successful ending. DYES FOR FOOD: See Foods. DYES FOR LEATHER: See Leather. DYE STAINS, THEIR REMOVAL FROM THE SKIN: See Cleaning Preparations and Meth- ods. DYNAMITE: See Explosives. EARTHENWARE: See Ceramics. EAU DE QIIININE: See Hair Preparations. EBONY: See Wood. EBOiry LACQUER: See Lacquers. ECZEMA DUSTING POWDER FOR CHILDREN. Starch, French chalk, lycopodium, of each, 40 parts; bismuth subnitrate, 2 parts; salicylic acid, 2 parts; menthol, 1 part. Apply freely to the affected parts. Eggs The age of eggs may be approximately judged by taking advantage of the fact that as they grow old their density de- creases through evaporation of moisture. According to Siebel, a new-laid egg placed in a vessel of brine made in the proportion of 2 ounces of salt to 1 pint of water, will at once sink to the bottom. An egg 1 day old will sink below the surface, but not to the bottom, while one 3 days old will swim just immersed in the liquid. If more than 3 days old the egg will float on the surface, the amount of shell exposed increasing with age; and if 2 weeks old, only a little of the shell will dip in the liquid. The New York State Experiment Sta- tion studied the changes in the specific gravity of the eggs on keeping and found that on an average fresh eggs had a specific gravity of 1.090; after they were 10 days old, of 1.072; after 20 days, of 1.053; and after 30 days, of 1.035. The test was not continued further. The changes in specific gravity correspond to the changes in -^ater content. When eggs arc kept they continually lose water by evaporation through the pores in the shell. After 10 days the average loss was found to be 1.60 per cent of the total water present in the egg when per- fectly fresh; after 20 days, 3.16 per cent; and after 30 days, 5 per cent. The aver- age temperature of the room where the eggs were kept was 63.8° F. The evap- oration was found to increase somewhat with increased temperature. None of the eggs used in the 30-day test spoiled. Fresh eggs are preserved in a number of ways which may, for convenience, be grouped under two general classes: (1) Use of low temperature, i. e., cold stor- age; and (2) excluding the air by coating, covering, or immersing the eggs, some material or solution being used which may or may not be a germicide. The two methods are often combined. The EGGS §83 first method owes its value to the fact that microorganisms, like larger forms of plant life, will not grow below a cer- tain temperature, the necessary degree of cold varying with the species. So far as experiment shows, it is impossible to kill these minute plants, popularly called "bacteria" or "germs," oy aily clegree of cold; and so, very low temperature is unnecessary for preserving eggs, even if it were not undesirable for other reasons, such as injury by freezing and in- creased cost. According to a report of the Canadian commission of agriculture and dairying: Eggs are sometimes removed from the shells and stored in bulk, usually on a commercial scale, in cans containing about 50 pounds each. The tempera- ture recommended is about 30° P., or a little below freezing, and it is said they will keep any desired length of time. They must be used soon after they have been removed from storage and have been thawed. Water glass or soluble glass is the popular name for potassium silicate, or sodium sihcate, the commercial article often being a mixture of the two. The commercial water glass is used for pre- serving eggs, as it is much cheaper than the chemically pure article which is required for many scientific pur- poses. Water glass is commonly sold in two forms, a syrup-thick liquid of about the consistency of molasses, and a pow- der. The thick syrup, the form perhaps most usually seen, is sometimes sold wholesale as low as If cents per pound in carboy lots. The retail price varies, though 10 cents per pound, according to the North Dakota Experiment Station, seems to be the price commonly asked. According to the results obtained at this station a solution of the desired strength for preserving eggs may be made by dis- solving 1 part of the syrup-thick water glass in 10 parts, by measure, of water. If the water-glass powder is used, less is required for a given quantity of water. Much of the water glass offered for sale is very alkaline. Such material should not be used, as the eggs preserved in it will not keep well. Only pure water should be used in making the solution, and it is best to boil it and cool it before mixing with the water glass. The solution should be carefully poured over the eggs packed in a suit- able vessel, which must be clean and sweet, and if wooden kegs or barrels are used they should be thoroughly scalded before packing the eggs in them. The packed eggs should be stored in a cool place. If they are placed where it is too warm, silicate deposits on the shell and the eggs do not keep well. The North Dakota Experiment Station found it best not to wash the eggs before packing, as this removes the natural mucilaginous coating on the outside of the shell. The station states that 1 gallon of the solution is sufficient for 50 dozen eggs if they are properly packed. It is, perhaps, too much to expect that eggs packed in any way will be just as satisfactory for table use as the fresh article. The opinion seems to be, how- ever, that those preserved with water glass are superior to most of those pre- served otherwise. The shells of eggs preserved in water glass are apt to crack m boiling. It is stated that this may be prevented by puncturing the blunt end of the egg with a pin before putting it into the water. To Discover the Age of Eggs. — The most reliable method of arriving at the age of hens' eggs is that by specific gravity. Make a solution of cooking salt (sodium chloride) in rain or distilled water, of about one part of salt to two parts of water, and in this place the eggs to be tested. A perfectly fresh egg (of from 1 to 36 hours old) will sink com- pletely, lying hori.;ontally on the bottom of the vessel; when from two to three days old, the egg also sinks, but not to the bottom, remaining just below the sur- face of the water, with a slight tendency of the large end to rise. In egjp;s of four or five days old this tendency of the large end to rise becomes more marked, and it increases from day to day, until at the end of the fifth day the long axis of the egg (an imaginary line drawn through the center lengthwise) will stand at an angle of 20° from the perpendicular. This angle is increased daily, until at the end of the eighth day it is at about 45°; on the fourteenth day it is 60°; on the twenty-first day it is 75°, while at the end of 4 weeks the egg stands perfectly up- right in the liquid, the point or small end downward. This action is based on the fact that the air cavity in the big end of the egg increases in size and capacity, from day to day, as the egg grows older. An ap- paratus (originEuIy devised by a German poultry fancier) based on this principle, and by means of which the age of an egg maintained at ordinary temperature may be told approximately to within a day, is made by placing a scale of degrees, drawn from 0° to 90° (the latter representing the perpendicular) behind the vessel con- 284 EGGS taining the solution, and observing the angle made by the axis of the egg with the perpendicular line. This gives the age of the egg with great accuracy. Weights of Eggs. — The following table shows the variation in weight be- tween eggs of the same family of chickens and of the comparative value of the product of different kinds of fowls: Weight of Whole Eggs, Shell, Grains. Grains. Net. Common hen, small. . 635.60 84.86 550.54 Common hen, mean. . 738.35 92.58 645.77 Common hen, large . . 802.36 93.25 709.11 Italian hen 840.00 92.50 747.50 Houdan 956.60 93.50 853.10 LaFlesche 926.50 94.25 835.25 Brahma 1,025.50 114.86 910.64 From this it will be seen that the Houdans and Brahmas are the most profitable producers, as far as food value of the product is concerned — provided, of course, they are equally prolific with the ordinary fowl. Another calculation is the number of ^gs to the pound, of the various weights. This is as follows: Small ordinary eggs (635 grains) 12 . 20 to pound Large ordinary eggs (802 grains) 9 . 25 to pound Houdan eggs 8.0 to pound Brahma, mean ... . 7.4 to pound Brahma, large 7.1 to pound Dried Yolk of Egg. — To prepare this, the yolks of eggs, separated from the whites, are thoroughly mixed with J their weight of water. The resulting emulsion is strained and evaporated under reduced pressure at a tempera- ture of 87° to 122° P.. to a paste. The latter is further dried over quicklime or a similar absorbent of moisture, at a temperature of 77° to 86° F., and ground to a fine powder. Egg Oil.— Yolks of eggs (about 250) 5.0 parts Distilled water 0.3 parts Beat this together and heat the mass with constant stirring in a dish on the water bath until it thickens and a sample exhibits oil upon pressing between the fingers. Squeeze out between hot plates, mix the turbid oil obtained with 0.05 parts of dehydrated Glauber's salt, shake repeatedly, and finally allow to settle. The oil, which must be decanted clear from the sediment, gives a yield of at least 0.5 parts of egg oil. Artificial Egg Oil.— Yellow beeswax 0.2 parts Cacao oil 0.5 parts Melt on the water bath and gradually add 9 parts of olive oil. Egg Powder. — Sodium bicarbonate.. 8 ounces Tartaric acid 3 ounces Cream tartar 5 ounces Turmeric, powdered. 3 drachms Ground rice 16 ounces Mix and pass through a fine sieve. One teaspoonful to a dessertspoonful (according to article to be made), to be mixed with each half pound of flour. The Preservation of Eggs.— The spoil- ing of eggs is due to the entrance of air carrying germs through the shells. Normally the shell has a surface coating of mucilaginous matter, which prevents for a time the entrance of these harmful organisms into the egg. But if this coat- ins is removed or softened by washing or otherwise the keeping quality of the egg is much reduced. These facts explain why many methods of preservation have not been entirely successful, and suggest that the methods employed should be based upon the idea of protecting and rendering more effective the naturalcoat- ing of the shell, so that air bearing the germs that cause decomposition may be completely excluded. Eggs are often packed in lime, salt, or other products, or are put in cold storage for winter use, but such eggs are very far from being perfect when they come upon the market. German authorities declare that water glass more closely conforms to the requirements of a good preserva- tive than any of the substances com- monly employed. A 10 per cent solution of water glass is said to preserve eggs so effectually that at the end of three and one-half months eggs still appeared to be perfectly fresh. In most packed eggs the yolk settles to one side, and the egg is then inferior in quality. In eggs pre- served in water glass the yolk retained its normal position in the egg, and in taste they were not to be distinguished from fresh, unpacked store eggs. Of twenty methods tested in Germany, the three which proved most effective were coating the eggs with vaseline, pre- serving them in limewater, and preserving them in water glass. The conclusion was reached that the last is preferable, be- cause varnishing the eggs with vaseline takes considerable time, and treating them with limewater is likely to give the eggs a limy flavor. EGGS— EKTOGAN 285 Other methods follow: I. — Eggs can be preserved tor winter use by coating them, when perfectly fresh, with paraffine. As the spores of fungi get into eggs almost as soon as they are laid, it is necessary to rub every egg with chloroform or wrap it a few minutes in a chloroform soaked rag be- fore dipping it into the melted paraffine. If only a trace of the chloroform enters the shell the development of such germs as may have gained access to freshly laid eggs is prevented. The paraffine coating excludes all future contamination from germ-laden air, and with no fungi grow- ing within, they retain their freshness and natural taste. II. — Preserving with Lime. — Dissolve in each gallon of water 12 ounces of quicklime, 6 ounces of common salt, 1 drachm of soda, J drachm saltpeter, J drachm tartar, and 1 J drachms of borax. The fluid is brought into a barrel and sufficient quicklime to cover the bottom is then poured in. Upon this is placed a layer of eggs, quicklime is again thrown in and so on until the barrel is filled so that the liquor stands about 10 inches deep over the last layer of eggs. The barrel is then covered with a cloth, upon which is scattered some lime. III. — Melt 4 ounces of clear beeswax in a porcelain dish over a gentle fire, and stir in 8 ounces of olive oil. Let the solution of wax in oil cool somewhat, then dip the fresh eggs one by one into it so as to coat every part of the shell. A momentary dip is sufficient, all excess of the mixture being wiped off with a cotton cloth. The oil is absorbed in the shell, the wax hermetically closing all the pores. IV. — The Reinhard method is said to cause such chemical changes in the sur- face of the eggshell that it is closed up perfectly air-tight and an admittance of air is entirely excluded, even in case of long-continued storing. The eggs are for a short time exposed to the direct action of sulphuric acid, whereby the surface of the eggshell, which consists chiefly of lime carbonate, is transformed into lime sulphate. The dense texture of the surface thus produced forms a complete protection against the access of the outsi _* Lime 6l^?f^ Carbonate of sodium ... 23 f ■'', . Nitrate of sodium 5} "^^'^ht. White Flint Glass Containing Lead. — Sand 631 Lime 5 Parts Carbonate of sodium .... 21 >• by Nitrate of sodium 31 weight. Red lead 8J Ordinary Green Glass for Dispensing Bottles.— Sand 63] Parts Carbonate of sodium .... 26 >- by Lime llj weight. A mixture for producing a good green flint glass is much the same as that for the ordinary white flint glass, except that the lime, instead of being the purest, is ordinary slaked lime, and the sodium nitrate is omitted. Sand, lime, and sodium carbonate are the ordinary bases of glass, while the sodium nitrate is the decolorizing agent. Glass Refractory to Heat. — Fine sand, 70 parts; potash, 30 parts; kaolin, 25 parts. Transparent Ground Glass. — Take hold of the glass by one corner with an ordinary pair of fire tongs. Hold it in front of a clear fire, and heat to about 98° F., or just hot enough to be held comfortably in the hand. Then hold the glass horizontally, ground side upper- most, and pour in the center a little photographer's dry-plate negative var- nish. Tut the glass so that the varnish spreads over it evenly, then drain back the surplus varnish into the bottle from one corner of the glass. Hold the glass in front of the fire again for a few minutes and the varnish will crystallize on its surface, making it transparent. The glass should not be made too hot before the varnish is put on, or the varnish will not run evenly. This method answers very well for self-made magic-lantern slides. Ground glass may be made temporarily transparent by wiping with a sponge dipped in paraffine or glycerine. WATER-TIGHT GLASS: Water-Tight Glass Roofs.— Glass roofs, the skeletons of which are constructed 374 GLASS of iron, are extremely difficult to keep water-tight, as the iron expands and contracts with atmospheric changes. To meet this evil, it is necessary to use an elastic putty, which follows the vari- ations of the iron. A good formula is: Two parts rosin and one part tallow, melted together and stirred together thoroughly with a little minium. This putty is applied hot upon strips of linen or cotton cloth, on top and below, and these are pasted while the putty is still warm, with one edge on the iron ribs and the other, about one-fourth inch broad, over the glass. Tightening Agent for Acid Receptacles. ■ — Cracked vessels of glass or porcelain, for use in keeping acids, can be made tight by applying a cement prepared in the following manner: Take finely sifted sand, some asbestos with short fiber, a little magnesia and add enough con- centrated water glass to obtain a readily kneadable mass. The acid renders the putty firm and waterproof. PENCILS FOR MARKING GLASS: See also Etching and Frosted Glass. Crayons for Writing on Glass. — I. — The following is a good formula: Spermaceti 4 parts Tallow 3 parts Wax 2 parts Red lead 6 parts Potassium carbonate. 1 part Melt the spermaceti, tallow, and wax together over a slow fire, and when melted stir in, a little at a time, the potassium carbonate and red lead, previ- ously well mixed. Continue the heat for 20 or 30 minutes, stirring constantly. Withdraw from the source of heat, and let cool down somewhat, under constant stir- ring, at the temperature of about 180° F.; before the mixture commences to set, pour off into molds and let cool. The latter may be made of bits of glass tubing of convenient diameter and length. After the mixture cools, drive the crayons out by means of a, rod that closely fits the diameter of the tubes. II. — Take sulphate of copper, 1 part, and whiting, 1 part. Reduce these to a fine powder and mix with water; next roll this paste into the shape of crayons and let dry. When it is desired to write on the glass use one of these crayons and wipe the traced designs. To make them reappear breathe on the glass. III. — Melt together, spermaceti, 3 parts; talc, 3 parts, and wax, 2 parts. When melted stir in 6 parts of mmium and 1 part of caustic potash. Continue heating for 30 minutes, then cast in suit- able molds. When formed and ready to be put away dust them with talc pow- der, or roll each pencil in paraffine powder. PREVENTION OF FOGGING, DIM- MING, AND CLOUDING. I. — Place a ffew flat glass or porcelain dishes with calcium chloride in each window. This substance eagerly ab- sorbs all moisture from the air. The contents of the dishes have to be re- newed every 2 or 3 days, and the moist calcium chloride rigorously dried, where- upon it may be used over again. II. — Apply to the inside face of the glass a thin layer of glycerine, which does not permit the vapor to deposit in fine drops and thus obstruct the light. Double glass may also be used. In this way the neat of the inside is not in direct contact with the cold outside. III. — 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 bright and clear as ever; breathing on it will not affect its clear- ness. IV. — Window glass becomes dull dur- ing storage by reason of the presence of much alkali. This can be avoided by taking sand, 160 parts; calcined sodium sulphate, 75; powdered marble, 50; and coke, 4 to 5 parts. About 3 parts of the sodium sulphate may be replaced by an equal quantity of potash. FROSTED GLASS. I. — A frosted appearance may be given to glass by covering it with a mixture of Magnesium sulphate. 6 ounces Dextrin 2 ounces Water 20 ounces _ When this solution dries, the magne- sium sulphate crystallizes in fine needles. II._ — Another formula directs a strong solution of sodium or magnesium sul- phate, applied warm, and afterwards coated with a thin solution of acacia. III.— A more permanent "frost" may be put on the glass by painting with white lead and oil, either smooth or in stipple effect. The use of lead acetate with oil gives a more pleasing effect, perhaps, than the plain white let,d. ly. — If still greater permanency is desired, the glass may be ground by rubbing with some gritty substance. GLASS 315 V. — For a temporary frosting, dip a piece of flat marble into glass cutter's sharp sand, moistened with water; rub over the glass, dipping frequently in sand and water. If the frosting is re- quired very fine, finish off with emery and water. Mix together a strong, hot solution of Epsom salt and a clear solu- tion of gum arable; apply warm. Or use a strong solution of sodium sulphate, warm, and when cool, wash with gum water. Or daub' the glass with a lump of glazier's putty, carefully and uniform- ly, until the surface is equally covered. "This is an excellent imitation of ground glass, and is not disturbed by rain or damp. VI. — This imitates ground glass: Sandarac 2 J ounces Mastic i ounce Ether 24 ounces Benzine 16 to 18 ounces VII. — Take white lead ground in a mix- ture of I varnish and J oil of turpentine, to whicn burnt white vitriol and white sugar of lead are added for drier. The paint must be prepared exceedingly thin and applied to the glass evenly, using a broad brush. If the windows require a new coat, the old one is first removed by the use of a strong lye, or else apply a mixture of hydrochloric acid, 2 parts; vitriol, 2 parts; copper sulphate, 1 part; and gum arable 1 part, by means of a brush. The production of this imitation frosting entails little expense and is of special advantage when a temporary use of the glass is desired. VIII. — A little Epsom salt (sulphate of magnesia) stirred in beer with a small dose of dextrin and applied on the panes by means of a sponge or a brush permits of obtaining mat panes. Hoarfrost Glass. — The feathery foams traced by frost on the inside of the windows in cold weather may be imitated as follows: The surface is first ground either by sand-blast or the ordinary method, and is then covered with a sort of varnish. On being dried either in the sun or by artificial heat, the varnish contracts strongly, taking with it the particles of glass to which it adheres; and as the con- traction takes places along definite lines, the pattern given by the removal of the particles of glass resembles very closely the branching crystals of frostwork. A single coat gives a small, delicate effect, while a thick film, formed by putting on 2, 3 or more coats, contracts so strongly as to produce a large and bold design. By using colored glass, a pattern in half-tint may be made on the colored ground, and after decorating white glass, the back may be silvered or gilded. Engraving, Matting, and Frosting. — Cover the glass with a layer of wax or of varnish on which the designs are traced with a graver or pen-point; next, hydro- fluoric acid is poured on the tracings. This acid is very dangerous to handle, while the following process, though fur- nishing the same results, does not present this drawback: Take powdered fluoride of lime, 1 part, and sulphuric acid, 2 parts. Make a homogeneous paste, which is spread on the parts reserved tor the engraving or frosting. At the end of 3 or 4 hours wash witn water to remove the acid, next with alcohol to take off the varnish, or with essence of turpen- tine if wax has been employed for stop- ping off. To Render Window Panes Opaque.— I. — Pane* may be rendered mat and non-transparent by painting them on one side with a liquid prepared by grinding whiting with potash water-glass solution. After one or two applications, the panes are perfectly opaque, while admitting the light. II. — Paint the panes with a solution of Dextrin 200-j p . Zinc vitriol 800 | ^f"* Bitter salt 300 f V^,, In water 2,000 j ^"S". III. — For deadening panes already set in frames the following is suitable: Dis- solve 1 part of wax in 10 parts of oil of turpentine, adding 1 part of varnish and 1 part of siccative. With this mixture coat the panes on the outside and dab, while still wet, with a pad of cotton wadding. If desired small quantities of Paris blue, madder lake, etc., may be added to the wax solution. IV. — For deadening window panes in factories and workshops: To beeswax dissolved in oil of turpentine, add some dryer and varnish to obtain a quicker drying and hardening. After the win- dow pane has been coated with this mixture on the outside, it is dabbed uniformly with a pad of wadding. The wax may be tinted with glazing colors. Frosted Mirrors. — I. — Cover with a solution of Epsom salts in stale beer; apply with a sponge to the mirror, first wiping it clean and dry. On drying, the Epsom salt crjjstallizes, giving very hand- some frosted effects, but the solution must not be applied on humid days 876 GLASS when the glass is liable to be damp, for in that case the effect will be a blurred one. When it is desirable to remove the coating, lukewarm water will serve the purpose without damage to the luster of the mirror. II. — The following mixture, when applied to a mirror and left to dry, will form in many shapes, all radiating from a focus, this focus forming anywhere on the glass, and when all dry tends to form a most pleasing object to the eye. Sour ale 4 ounces Magnesium sulphate. 1 ounce Put on the mirror with a small, clean sponge and let dry. It is now ready for the artist, and he may choose his own colors and subject. Crystalline Coatings or Frostwork on Glass or Paper. — Dissolve a small quan- tity of dextrin (gum arable and trag- acanth are not so suitable) in aqueous salt solution as concentrated as possible, for instance, in sulphate of 'magnesia (bitter salt), sulphate of zinc or any other readily crystallizing salt; filter the solution through white blotting paper and coat glass panes uniformly thin with the clear filtrate, using a fine, broad badger brush; leave them lying at an ordinary medium temperature about one- quarter hour in a horizontal position. As the water slowly evaporates during this short time, handsome crystalline patterns, closely resembling frostwork, will develop gradually on the glass panes, which adhere so firmly to the glass or the Caper (if well-sized glazed paper had een used) that they will not rub off easily. They can be permanently fixed by a subsequent coat of alcoholic shellac solution. Especially handsome effects are pro- duced with colored glass panes thus treated, and in the case of reflected light by colored paper. For testing crystals as regards their optical behavior, among others their behavior to polarized light, it is suflScient to pour a solution of collodion wool (soluble peroxide lime for the prepara- tion of collodion) over the surface of glass with the crystalline designs, and to pull off the dry collodion film care- fully. If this is done cautiously it is not difficult to lift the whole crystalline group from the glass plate and to in- corporate it with the glass-like, thin collodion film. REMOVING WINDOW KROST. Here are fourteen methods of prevent- ing frost on windows, arranged in the order of their efficacy : 1, Flame of an alco- hol lamp; 2, sulphuric acid; 3, aqua ammonia; 4, glycerine; 5, aqua regia; 6, hydrochloric acid; 7, benzine; 8, nydri- oaic acid; 9, boric acid; 10, alcohol; 11, nitric acid; 12, cobalt nitrate; 13, in- fusion of nutgalls; 14, tincture of ferrous sulphate. By the use of an alcohol lamp (which, of course, has to be handled with great care) the results are immediate, and the effect more nearly permanent than by any other methods. The sul- phuric acid application is made with a cotton cloth swab, care being taken not to allow any dripping, and so with all other acids. The effect of the aqua ammonia is almost instantaneous, but the window is frosted again in a short time. With the glycerine there are very good results — but slight stains on the window which may be easily removed. The instructions for glycerine are: Dissolve 2 ounces of glycerine in 1 quart of 62 per cent alcohol containing, to improve the odor, some oil of amber. When the mixture clarifies it is rubbed over the inner surface of the glass. This, it is claimed, not only prevents the formation of frost, but also prevents sweating. To Prevent Dimming of Eyeglasses, etc. — ^Mix olein-potash soap with about 3 per cent of glycerine and a little oil turpentine. Similar mixtures have also been recommended for polishing physi- cians' reflectors, show-windows, etc., to prevent dimming. WRITING ON GLASS: See also Etching and Inks. Composition for Writing on Glass. — To obtain mat designs on glass, take sodium fluoride, 35 parts; potassium sul- phate, 7 parts; zinc chloride, 15 parts; hydrochloric acid, 65 parts; distilled water, 1,000 parts. Dissolve the sodium fluoride and the potassium sulphate in half the water; dissolve the zinc chloride in the remaining water and add the hydrochloric acid. Preserve these two solutions separately. For use, mix a. little of each solution and write on the glass with a pen or brush. Ink for Writing on Glass. — Shellac 20 parts Alcohol 150 parts Borax 35 parts Water 250j)arts Water - soluble dye sufficient to color. Dissolve the shellac in the alcohol, the borax in the water, and pour the shellac GLASS— GLAZES 377 Solution slowly into that of the borax. Then add the coloring matter previously dissolved in a little water. GLASS AND GLASSWARE CEMENT: See Adhesives and Amalgams. GLASS CLEANERS: See Cleaning Preparations and Meth- ods. GLASS, COPPERING, GILDING, AND PLATING: See Plating. GLASS ETCHING: See Etching. GLASS, HOW TO AFFIX SIGN-LET- TERS ON: See Adhesives under Sign-Letter Cements. GLASS, FASTENING METALS ON: See Adhesives. GLASS LETTERING: See Lettering. GLASS LUBRICANTS: See Lubricants. GLASS, PERCENTAGE OF LIGHT AB- SORBED BY: See Light. GLASS POLISHES: See Polishes. GLASS, SILVERING OF: See ^lirrors. GLASS SOLDERS: See Solders. GLASS, SOLUBLE, AS A CEMENT: See Adhesives. GLASS, TO AFFIX PAPER ON: See Adhesives, under Water-Glass Cements. GLASS, TO SILVER: See Silver. Glazes (See also Ceramics, Enamels, Paints, and Varnishes.) Glazes for Cooking Vessels.— Melt a frit of red lead, 22.9 parts (by weight); crystallized boracic acid, 31 parts; enamel soda, 42.4 parts; cooking salt, 10 parts; gravel, 12 parts; feldspar, 8 parts. According to the character of the clay, this frit is mixed with varying quantities of sand, feldspar and kaolin, in the following manner: Prit 84 84 84 84 Redlead 1.5 1.5 1.5 1.5 Gravel 8 6 3 Feldspar 2 5 8 Kaolin, burnt .6.5 6.5 6.5 6.5 Glazes which are produced without addition of red lead to the frit, are pre- pared as follows. Melt a frit of the following composition: Red lead, 22.9 parts (by weight); boracic acid in crystals, 24.8 parts; enamel soda, 37.1 parts; calcined potash, 6.9 parts; cook- ing salt, 10 parts; chalk, 10 parts; gravel, 12 parts; feldspar, 8 parts. From the frit the following glazes are prepared : Frit 86.5 86.5 86.5 86.5 Gravel 7 4.6 3 Feldspar 2.5 4 7 Kaolin, burnt. 6.5 6.5 6.5 6.5 Glazing on Size Colors. — The essential condition for this work is a well-sized foundation. For the glazing paint, size is likewise used as a binder, but a little dissolved soap is added, of about the strength employed for coating ceilings. Good veining can be done with this, and a better eBect can be produced in execut- ing pieces which are to appear in relief, such as car-touches, masks, knobs, etc., than with the ordinary means. A skill- ful grainer may also impart to the work the pleasant luster of natural wood. The same glazing method is applicable to colored paintings. If the glazing colors are prepared with wax, dissolved in French turpentine, one may likewise glaze with them on a size-paint ground. Glazing tube-oil colors thinned with turpentine and siccative, are also useful for this purpose. For the shadows, asphalt and Van Dyke brown are recom- mended, while the contour may be painted with size-paint. Coating Metallic Surfaces with Glass. — Metallic surfaces may be coated with glass by melting together 125 parts (by weight) of flint-glass fragments, 20 parts of sodium carbonate, and 12 parts of boracic acid. The molten mass is next poured on a hard and cold surface, stone or metal. After it has cooled, it is pow- dered. Make a mixture of 50° Be. of this powder and sodium silicate (water glass). The metal to be glazed is coated with this and heated in a muffle or any other oven until the mixture melts and can. be evenly distributed. This glass coating adheres firmly to iron and steel. Glaze for Bricks. — A glazing color for bricks patented in Germany is a compo- 378 GLAZES— GLYCERINE sition of 12 parts (by weight) lead; 4 parts litharge; 3 parts quartzose sand; 4 parts white argillaceous earth; 2 parts kitchen salt; 2 parts finely crushed glass, and 1 part saltpeter. These ingredients are all reduced to a powder and then mixed with a suitable quantity of water. The color prepared in this manner is said to possess great durability, and to impart a fine luster to the bricks. GLAZES FOR LAUNDRY: See Laundry Preparations. GLOBES, HOW TO COLOR: See Glass-Coloring. GLOBES, PERCENTAGE OF LIGHT ABSORBED BY: See Light. GLOBES, SILVERING OF: See Mirrors. GLOSS FOR PAPER: See Paper. GLOVE -CLEANERS: See Cleaning Compounds. GLOVES, SUBSTITUTE FOR RUBBER : See Antiseptics. GLOVES, TESTING: See Rubber. GLUCOSE IN JELLY: See Foods. Glue (Formulas for Glues and methods of manufacturing Glue will be found under Adhesives.) Rendering Glue Insoluble in Water.— StuebUng finds that the usual mixture of bichro-mate and glue when used in the ordinary way does not possess the water- proof properties with which it is gener- ally credited. If mixed in the daylight, it sets hard before it can be applied to the surfaces to be glued, and if mixed and applied in the dark room it remains just as soluble as ordinary glue, the light being unable to penetrate the in- terior of the joints. Neither is a mixture of linseed oil and glue of any use for this purpose. Happening to upset a strong solution of alum — prepared for wood staining — into an adjacent glue pot, he stirred up the two together out of curiosity and left them. Wishing to use the glue a few days later, he tried to thin it down with water, but unsuccess- fully, the glue having set to a waterproof mass. Fre.sh glue was then mixed with alum solution and used to join two pieces of wood, these resisting the action of the water completely. To Bleach Glue. — Dissolve the glue in water, by heat, and while hot, add a mixture in equal parts of oxalic acid and zinc oxide, to an amount equal to about 1 per cent of the glue. After the color has been removed, strain through muslin. Method of Purifying Glue. — The glue is soaked in cold water and dissolved in a hot 25 per cent solution of magnesium sulphate. The hot solution is filtered, and to the filtrate is added a 25 per cent solution of magnesium sulphate con- taining 0.5 per cent of hydrochloric acid (or, it necessary, sulphuric acid). A white flocculent precipitate is obtained which is difficult to filter. The re- mainder of the glue in the saline solution is extracted by treatment with magnesium sulphate. The viscous matter is washed, then dissolved in hot water, and allowed to cool, a quantity of weak alcohol acid- ulated by 1 per cent of hydrochloric acid being added just before the mass solidi- fies. From 2 to 3 parts, by volume, of strong alcohol (methyl or ethyl) are then added and the solution filtered, charcoal being used if necessary. The glue is finally precipitated from this solution by neutralizing with ammonia and washing with alcohol or water. To Distinguish Glue and Other Ad- hesive Agents. — The product to be ex- amined is heated with hydrofluoric acid (50 per cent). If bone glue is present in any reasonable quantity, an intense odor of butyric acid arises at once, similar to that of limburger cheese. But if dextrin or gum arable is present, only an odor of dextrine or fluorhydric acid will be perceptible. Conduct the re- action with small quantities; otherwise the smell will be so strong that it is hard to remove from the room. GLUE CLARIFIER: See Gelatin. Glycerine Recovering Glycerine from Soap Boil- er's Lye. — I. — Glycerine is obtained as a. by-product in making soap. For many years the lyes were thrown away as waste, but now considerable quantities of glycerine are recovered, which are much used in making explosive com- pounds. When a metallic salt or one of the alkalies, as caustic soda, is added to tallow, a stearite of the metal (common soap is stearite of sodium) is formed, whereby the glycerine is eliminated. GLYCERINE— GOLD 879 This valuable by-product is contained in the waste lye, and has formed the sub- ject of several patents. Draw the lye off from the soap-pans; this contains a large quantity of water, some salt and soap and a small quantity of glycerine, and the great trouble is to concentrate the lye so that the large c[uantity of water is eliminated, some- times 10 to 12 days being occupied jn doing this. The soap and salt are easily removed. To remove the soap, run the lye into a series of tanks alternating in size step- like, so that as the first, which should be the largest, becomes full, the liquor will flow into the second, from that into the third, and so on; by this arrangement the rosinous and albuminous matters will settle, and the soap still contained in the lyes will float on tne surface, from which it is removed by skimming. After thus freeing the lye of the solid impurities, convey the purified lye to the glycerine recovering department (wooden troughs or pipes may be used to do this), and after concentrating by heating it in a steam-jacketed boiler, and allowing it to cool somewhat, ladle out the solid salt that separates, and afterwards con- centrate the lye by allowing it to flow into a tank, but before doing so let the fluid come in contact with a hot blast of air or superheated steam, whereby the crude discolored glycerine is obtained. This is further purified by heating with animal charcoal to decolorize it, then distilling several times in copper stills with superheated steam. The chief points to attend to are: (1) The neutral- izing and concentrating the lye as much as possible and then separating the salts and solid matters; (2) concentrating the purified lye, and mixing this fluid with oleic acid, oil, tallow, or lard, and heating the mixture to 338° P., in a still, by steam, and gradually raise the heat to 372° F.; (3) stirring the liquor while being heated, and allowing the aqueous vapor to es- cape, and when thus concentrated, sa- ponifying the liquid with lime to elimi- nate the glycerine; water is at the same time expelled, but this is removed from the glycerine by evaporating the mix- ture. II. — In W. E. Garrigues's patent for the recovering of glycerine from spent soap lyes, the liquid is neutralized with a mineral acid, and after separation of the insoluble fatty acids it is concentrated and then freed from mineral salts and volatile fatty acids, and the concentrat- ed glycerine solution treated with an alkaline substance and distilled. Thus the soap ]ye may be neutralized with sulphuric acid, and aluminum sulphate added to precipitate the insoluble fatty acids. The filtrate from these is con- centrated and the separated mineral salts removed, after which barium chloride is added and then suflicient sulphuric acid to liberate the volatile fatty acids combined with the alkali. These acids are partially enveloped in the barium sulphate, with which they can be separated from the liquid by filtration, while the remaining portion can be expelled by evaporating the liquid in a vacuum evaporator. Finally, the solution is treated with sodium carbonate, and the glycerine distilled. Glycerine Lotion. — • Glycerine 4 ounces Essence bouquet .... J ounce Water i ounces Cochineal coloring, a sufficient quantity. (See also Cosmetics for Glycerine Lotions.) GLYCERINE APPLICATIONS: See Cosmetics. GLYCERINE AS A DETERGENT: See Cleaning Preparations and Meth- ods. GLYCERINE PROCESS: See Photography. GLYCERINE SOAP: See Soap. GLYCERINE DEVELOPER: See Photography. Gold (See also Jewelers' Formulas.) Gold Printing on Oilcloth and Imita- tion Leather. — Oilcloth can very easily be gilt if the right degree of heat is observed. After the engraving has been put in the press, the latter is heated slightly, so that it is still possible to lay the palm of the hand on the heated plate without any unpleasant sensation. Go over the oilcloth with a rag in which a drop of olive oil has been rubbed up, which gives a greasy film. No priming with white of egg or any other priming agent should be done, since the gold leaf would stick. Avoid sprinkling on gild- ing powder. The gold leaf is applied directly on the oilcloth; then place in the lukewarm press, squeezing it down with 380 GOLD a quick jerky motion and opening it at once. If the warm plate remains too long on the oilcloth, the gold leaf will stick. When the impression is done, the gold leaf is not swept off at once, but the oilcloth is first allowed to cool com- pletely for several minutes, since there IS a possibility that it has become slightly softened under the influence of the heat, especially at the borders of the pressed figures, and the gold would stick there if swept off immediately. The printing should be sharp and neat and the gold glossy. For bronze printing on oilcloth, a preliminary treatment of printing with varnish ground should be given. The bronze is dusted on this varnish. Imitation leather is generally treated in the same manner. The tough paper ■ substance is made to imitate leather perfectly as regards color and press- ing, especially the various sorts of calf, but the treatment in press gilding differs entirely from that of genuine leather. The stuff does not possess the porous, spongy nature of leather, but on the contrary is very hard, and in the course of manufacture in stained-paper factories is given an almost waterproof coating of color and varnish. Hence the applied ground of white of egg pene- trates but slightly into this substance, and a thin layer of white of egg remains on the surface. The consequence is that in gilding the gold leaf is prone to become attached, the ground of albumen being quickly dissolved under the action of the heat and put in a soft sticky state even in places where there is no en- graving. In order to avoid this the ground is either printed only lukewarm, or this imitation leather is not primed at all, but the gold is applied immediately upon going over the surface with the oily rag. Print with a rather hot press, with about the same amount of neat as is employed for printing shagreen and title paper. A quick jerky printing, avoiding a long pressure of the plate, is necessary. Liquid Gold. — Take an evaporating dish, put into it 880 parts, by weight, of pure gold; then 4,400 parts, by weight, of muriatic acid, and 3,520 parts, by weight, nitric acid; place over a gas flame until the gold is dissolved, and then add to it 22 parts, by weight, of pure tin; when the tin is dissolved add 42 parts, by weight, of butter of antimony. Let all remain over the gas until the mixture begins to thicken. Now put into a glass and test with the hydrometer, vdiich should give about 1,800 specific gravity. Pour into a large glass and fill up with water until the hydrometer shows 1090; pour all the solution into a chemical pot and add to it 1,760 parts, by weight, balsam of sulphur, stirring well all the while, and put it over the gas again; in an hour it should give, on testing, 125° P.; gradually increase the heat up to 185° P., when it should be well stirred and then left to cool about 12 hours. Pour the watery fluid into a large vessel and wash the dark-looking mass 5 or 6 times with hot water; save each lot of water as it contains some portion of gold. Remove all moisture from the dark mass by rolling on a slab and warming before the fire occasionally so as to keep it soft. When quite dry add 2J times its weight of turpentine and put it over a small flame for about 2 hours; then slightly in- crease the heat for another hour and a half. Allow this to stand about 24 hours, and then take a glazed bowl and spread over the bottom of it 1,760 parts, by weight, of finely powdered Bismuth; pour the prepared gold over it in several places. Now take a vessel containing water and place inside the other vessel containing the gold, and heat it so as to cause the water to boil for 3 hours; allow it to remain until settled and pour off the gold from the settlings of the bis- muth, and try it; if not quite right con- tinue the last process with bismuth until good; the bismuth causes the gold to adhere. Preparation of Balsam of Sulphur. — Take 16 parts oil of turpentine; 2 J parts spirits of turpentine; 8 parts flour of sulphur. Placeman in a chemical pot and heat until it boils; continue the boiling until no sulphur can be seen in it; now remove from the heat and thin it with turpentine until about the thickness of treacle, then warm it a^ain, stirring well; allow it to cool until it reaches 45° P., then test it with the hydrometer, and if specific gravity is not 995 continue the addition of turpentine and warming until correct, let It thoroughly cool, then bottle, keep- ing it air-tight. To Purify Bismuth.— Take 6 parts bismuth metal, J part saltpeter. Melt together in a biscuit cup, pour out on to a slab, and take away all dirt, then grind into a fine powder. To Recover the Gold from the Re- mains of the Foregoing Process. — Put all the "watery" solutions into a large vessel and mix with a. filtered saturated solution of copperas; this will cauca GOLD 381 a precipitate of pure metallic gold to gradually subside; wash it with cold water and dry in an evaporating dish. All rags and settlings that are thick should be burnt in a crucible until a yellow mass is seen; then take this and dissolve it in 2 parts muriatic acid and 1 part nitric acid. Let it remain in a porce- lain dish until it begins to thicken, and crystals form on the sides. Add a little nitric acid, and heat until crystals again form. Now take this and mix with cold water, add a solution of copperas to it and allow it to settle; pour off the water, and with fresh water wash till quite free from acid. The gold may then be used again, and if great care is exercised almost one-half the original quantity may be recovered. The quantities given in the recipe should produce about 13 to 15 parts of the liquid gold. It does not in use require any burnishing, and should be fired at rose- color heat. If desired it can be fluxed with Venice turpentine, oil of lavender, or almonds. Treatment of Brittle Gold.— I.— Add to every 100 parts, by weight, 5 to 8 parts, by weight, of cupric chloride and melt un- til the oily layer which forms has disap- peared. Then pour out, and in most cases a perfectly pliable gold will have been obtained. If this should not be the case after the first fusion, repeat the oper- ation with the same quantity of cupric chloride. The cupric chloride must be kept in a well-closed bottle, made tight with paraffine, and in a dry place. II. — Pass chlorine gas through the molten gold, by which treatment most of the gold which has otherwise been set aside as unfit for certain kinds of work may be redeemed. Assaying of Gold. — To determine the presence of gold in ores, etc., mix a small quantity of the finely powdered ore in a flask with an equal volume of tincture of iodine, shake repeatedly and well, and leave in contact about 1 nour, with repeated shaking. Next allow the mixture to deposit and dip a narrow strip of filtering paper into the solution. Allow the paper to absorb, next to dry; then dip it again into the solution, re- peating this 5 to 6 times, so that the" filtering paper is well saturated and im- pregnated. The strip is now calcined, as it were, and the ashes, if gold is present, show a purple color. The coloring disappears immediately if the ashes are moistened with bromine water. The same test may also be modified as follows: Cover the finely pulverized ore with bromine water, shake well and repeatedly during about 1 hour of the contact, and filter. Now add to the solution stannic protochloride in solution, whereby, in case gold is present, a purple color (gold purple of Cassius) will at once appear. In case the ore to be assayed contains sulphides, it is well to roast the ore previousljr, and should it contain lime carbonate, it is advisable to calcine the ore before in the presence of ammonium carbonate. Gold Welding. — Gold may be welded together with any metal, if the right methods are employed, but best with copper. Some recipes for welding agents are nere given. I. — Two parts by weight (16 ounces equal 1 pound) of green vitriol; 1 part by weight (16 ounces equal 1 pound) of saltpeter; 6 parts by weight (16 ounces equal 1 pound) of common salt; 1 part by weight (16 ounces equal 1 pound) of black manganic oxide or pulverized, and mixed with 48 parts by weight (16 ounces equal 1 pound) of good welding sand. II. — Filings of the metal to be used in welding are mixed with melted borax in the usual proportion. To be applied in the thickness desired. III. — A mixture of 338 parts of sodium phosphate and 124 parts of boracic acid is used when the metal is at dark-red heat. The metal is then to be brought to a bright-red heat, and ham- mered at the same time. The metal easily softens at a high temperature, and a wooden mallet is best. All substances containing carbon should be removed from the surface, as success depends upon the formation of a fusible copper phos- phate, which dissolves a thin layer of oxide on the surface, and keeps the latter in good condition for welding. To Recover Gold-Leaf Waste.— To re- cover the gold from color waste, gold brushes, rags, etc., they are burned up to ashes. The ashes are leached with boiling water containing hydrochloric acid. The auriferous residuum is then boiled with aqua regia (1 part nitric acid and 3 parts hydrochloric acid), whereby the gold is dissolved and gold chloride results. After filtration and evaporation to dryness the product is dissolved in water and precipitated with sulphate of -protoxide of iron. The pre- cipitated gold powder is purified with hydrochloric acid. Gold from Acid Coloring Baths. — I. — Different lots are to be poured together GOLD and the gold in them recovered. The following method is recommended: Dissolve a handful of phosphate of iron in boiling water, to which liquor add the coloring baths, whereby small particles of gold are precipitated. Then draw off the water, being careful not to dissolve the auriferous sediment at the bottom. Free this from all traces of acid by washing with plenty of boiling water; it will require 3 or 4 separate washings, with sufficient time between each to allow the water to cool and the sediment to settle before pouring off the water. Then dry in an iron vessel by the fire and fuse in a covered skittlepot with a flux. II. — The collected old coloring baths are poured into a sufficiently large pot, an optional quantity of nitro-muriatic acid IS added, and the pot is placed over the fire, during which time the fluid is stirred with a wooden stick. It is taken from the fire after a while, diluted largely with rain water and filtered through coarse paper. The gold is recovered from the filtered solution with a solution of green vitriol which is stored in air- tight bottles, then freshened with hot water, and finally smelted with borax and a little saltpeter. Parting with Concentrated Sulphuric Acid. — It is not necessary scrupulously to observe the exact proportion of the gold to the silver. After having prepared the auriferous silver, place it in a quantity of concentrated sulpnuric acid contained in a porcelain vessel, and let it come to a violent boil. When the acid has either be- come saturated and will dissolve no more, or when solution is complete, remove the dissolving vessel from the fire, let it cool, and, for the purpose of clarifying, pour dilute sulphuric acid into the solution. The dissolved silver is next carefully decanted from the gold sediment upon the bottom, another portion of con- centrated acid is poured in, and the gold is well boiled again, as it will still contain traces of silver; this operation may be repeated as' often as is deemed necessary. The solution, poured into the glass jars, is well diluted with water, and the silver is then precipitated hj placing a sheet of copper in the solution. The precipi- tate is then freshened with hot water, which may also be done by washing upon the filter; the granulated silver (sulphate of silver) is pressed out in. linen, dried and smelted. The freshened gold, after drying, is first smelted with bisulphate of soda, in order to convert the last traces of silver into sulphate, and then smelted with borax and a little saltpeter. To Remove Gold from Silver.— I.— Gold is taken from the surface of silver by spreading over it a paste, made of powdered sal ammoniac with aqua fortis and heating it till the matter smokes and is nearly dry, when the gold may be separated by rubbing it with the scratch brush. II. — The alloy is to be melted and poured from a height into a vessel of cold water, to which a rotary motion is imparted, or else it is to be poured through a broom. By this means the metal is reduced to a fine granular con- dition. The metallic substance is then treated with nitric acid, and gently heated. Nitrate of silver is produced, which can be reduced by any of the ordinary methods; while metallic gold remains as a black sediment, which must be washed and melted. Simple Specific Gravity Test. — A cer- tain quantity of the metal is taken and drawn out into a wire, which is to be exactljr of the same length as one from fine silver; of course, both must have been drawn through the same hole, silver being nearly J lighter than §old, it is natural that the one of fine silver must be lighter, and the increased weight of the wire under test corresponds to the percentage of gold contained in it. To Make Fat Oil Gold Size.— First thin up the fat oil with turpentine to workable condition; then mix a little very finely ground pigment with the gold size, about as much as in a thin priming coat. Make the size as nearly gold color as is con- venient; chrome yellow tinted with ver- milion is as good as anything for this pur- pose. Then thin ready for the brush with turpentine, and it will next be in order to run the size through a very fine strainer. Add japan, as experience or experiment may teach, to make it dry tacky about the time the leaf is to be laid. Dry slow- ly, because the slower the size dries, the longer it will hold its proper tackiness when it is once in that condition. To Dissolve Copper from Gold Articles. ; — Take 2 ounces of proto-sulphate of iron and dissolve it in i a pint of water, then add to it in powder 2 ounces of nitrate of potash; boil the mixture for some time, and afterwards pour it into a shallow vessel to cool and crystallize; then to every part of the crystallized salt add 8 ounces of muriatic acid, and preserve in a bottle for use. Equal parts of the above preparation and of boiling water is a good proportion to use in dissolving copper, or 1 part by weight GOLD of nitric acid may be used to 4 parts by weight of boiling water as a substitute. GOLD PURPLE. I. — The solution of stannous chloride necessary for the preparation of gold purple is produced by dissolving pure tin in pure hydrochloric acid (free from iron), in such a manner that some of the tin re- mains undissolved, and evaporating the solution, into which a piece of tin is laid, to crystallization. II. — Recipe for Pale Purjjle. — Dis- solve 2 parts by weight of tin in boiling aqua regia, evaporate the solution at a moderate heat until it becomes solid, dissolve in distilled water and add 2 parts by weight of a solution of stannous chloride (specific gravity 1.7) dilute with 9,856 parts by weight of water, stir into the liquid a solution of gold chloride prepared from 0.5 parts by weight of gold and containing no excess of acid (the latter being brought about by evaporating the solution of gold chloride to dryness and heating for some time to about 320° P.). This liquid is dimmed by the admixture of 50 parts by weight of liquid ammonia which eliminates the purple. The latter is quickly filtered off, washed out and while still moist rubbed up with the glass paste. This consists of enamel of lead 20 parts by weight; quartzose sand, 1 part by weight; red lead, 2 parts by weight; and calcined borax, 1 part by weight, with silver carbonate, 3 parts by weight. III.— Recipe for Dark Gold Purple.— Gold solution of 0.5 parts by weight of gold, solution of stannous chloride (specific gravity 1.7) 7.5 parts by weight; thin with 9,856 parts by weight of water, separate the purple by a few drops of sulphuric acid, wash out the purple and mix same with enamel of lead 10 parts by weight and silver carbonate, 0.5 parts by weight. IV. — Recipe for Pink Purple. — Gold solution of 1 part by weight of gold; solution of 50 parts by weight of alum in 19,712 parts by weight of water; add 1.5 parts by weight of stannous chloride so- lution (specific gravity 1.7) and enough ammonia until no more precipitate is formed; mix the washed out precipitate, while still moist, with 70 parts by weight of enamel of lead and 2.5 parts by weight of silver carbonate. According to the composition of the purple various reds are obtained in fusing it on; the latter may still be brightened up by a suitable increase of the flux. To Render Pale Gold Darker.- Take verdigris, 50 parts by weight and very strong vinegar, 100 parts by weight. Dissolve the verdigris in the vinegar, rub the pieces with it well, heat them and dip them in liquid ammonia diluted with water. Repeat the operation if the de- sired shade does not appear the first time. Rinse with clean water and dry. To Color Gold. — Gilt objects are im- proved by boiling in the following solu- tion: Saltpeter, 2 parts by weight; cook- ing salt, 1 part by weight; alum, 1 part by weight; water, 24 parts by weight; hydrochloric acid, 1 part by weight (1.12 specific gravity). In order to impart a rich appearance to gilt articles, the fol- lowing paste is applied: Alum, 3 parts by weight; saltpeter, 2 parts by weight; zinc vitriol, 1 part by weight; cooking salt, 1 part by weight; made into a paste with water. Next, heat until black, on a hot iron plate, wash with water, scratch with vinegar and dry after washing. Gold-Leaf Striping. — To secure a good job of gilding depends largely for its beauty upon the sizing. Take tube chrome yellow ground in oil, thin with wearing body varnish, and temper it ready for use with turpentine. Apply in the evening with an ox-tail striper, and let it stand until the next morning, when, under ordinary circumstances, it will be ready for the gold leaf, etc. After the gilding is done, let the job stand 24 hours before varnishing. Composition of Aqua Fortis for the Touch-Stone. — Following are the three compositions mostly in use: I. — Nitric acid, 30 parts; hydrochloric acid, 3 parts; distilled water, 20 parts. II. — Nitric acid, 980 parts by weight; hydrochloric acid, 20 parts by weight. III. — Nitric acid, 123 parts by weight; hydrochloric acid, 2 parts by weight. To Remove Soft Solder from Gold. — Place the work in spirits of salts (hydro- chloric acid) or remove as much as pos- sible with the scraper, using a gentle heat to remove the solder more easily. Tipping Gold Pens. — Gold pens are usually tipped with iridium. This is done by soldering very small pieces to the points and filing to the proper shape. To Recognize Whether an Article is Gilt. — Simply touch the object with a glass rod previously dipped into a solu- tion of bichloride of copper. If the article has been gilt the spot touched should remain intact, while it presents a S84. GOLD— GRAIN brown stain if no gold has been de- posited on its surface. To Burnish Gilt Work. — Ale has proved a very good substitute for soap and water in burnishing gilt as it in- creases the ease and smoothness with which it is accomplished. Vinegar is a, somewhat poorer substitute for ale. White-Gold Plates Without Solder.— The gold serving as a background for white-gold is rolled in the desired dimensions and then made perfectly even under a powerful press. It is then carefully treated with a file until a per- fectly smooth surface is obtained. After a white-gold plate of the recjuired thick- ness has been produced in the same manner, the surfaces of the two plates to be united are coated with borax and then pressed together by machine, which causes the harder metal to be squeezed slightly into the surface of the other, furnishing a, more solid and compact mass. The metals, now partially united, are firmly fastened together by means of strong iron wire and a little more borax solution is put on the edges. Then heat to the temperature necessary for a com- plete adhesion, but the heat must not be so great as to cause an alloyage by fusing. The whole is finally rolled out into the required thickness. To Fuse Gold Dust. — Use such a crucible as is generally used for melting brass; heat very hot; then add the gold dust mixed with powdered borax; after some time a scum or slag will be on top, which may be thickened by the addition of a little lime or bone ash. If the dust contains any of the more oxidizable metals, add a little niter, and skim off the slag or scum very carefully; when melted, grasp the crucible with strong iron tongs, and pour off immediately into molds, slightly greased. The slag and crucibles may be afterwards pulver- ized, and the auriferous matter recovered from the mass through cupellation by means of lead. GOLD ALLOYS: See Alloys. GOLD, EXTRACTION OF, BY AMAL- GAMATION: See Amalgams. GOLD LETTERS ON GLASS, CEMENTS FOR AFFIXING: See Adhesives, under Sign-Letter Cem- ents. GOLD, REDUCTION OF OLD PHOTO- GRAPHIC: See Photography. GOLD FOIL SUBSTITUTES AND GOLD LEAF: See Metal Foil. GOLD-LEAF ALLOYS: See Alloys. GOLD LEAF AND ITS APPLICATION: See Paints. GOLD PLATING: See Plating. GOLD, RECOVERY OF WASTE: See Jewelers' Formulas. GOLD RENpVATOR: See Cleaning Preparations and Meth- ods. GOLD, SEPARATION OF PLATINUM FROM: See Platinum. GOLD SOLDERS: See Solders. GOLD TESTING: See Jewelers' Formulas. GOLD VARNISH: See Varnishes. GOLDWASSER: See Wines and Liquors. GONG METAL: See Alloys. GRAIN. Formalin Treatment of Seed Grain for Smut. — Smut is a. parasitic fungus, and springs from a spore (which cor- responds to a seed in higher plants). This . germinates when the grain is seeded and, penetrating the little grain plant when but a few days old, grows up within the grain stem. After entering the stem there is no evidence of its presence until the grain begins to head. At this time the smut plant robs the developing kernels of their nourishment and ripens a mass of smut spores. These spores usually ripen before the grain, and are blown about the field, many spores becoming lodged on the ripening grain kernels. The wholesale agent of infection is the threshing machine. For this reason the safest plan is to treat all seed wheat and oats each year. Secure a 40 per cent solution of formalin (the commercial name for formaldehyde gas held in a water so- lution). About 1 ounce is required for every 6 bushels of grain to be treated. GRAIN— GREASE ERADICATORS 385 Clean off a space on the barn floor or sweep a clean space on the hard level ground and lay a good-sized canvas down, on which to spread out the wheat. See that the place where the grain is to be treated is swept clean and thoroughly sprinkled with the formalin solution before placing the seed grain there. Prepare the formalin solution im- mediately before use, as it is volatile, and if kept may disappear by evapora- tion. Use 4 ounces of formalin for 10 gallons of water. This is sufficient for 600 Eounds of grain. Put the solution in a arrel or tub, thoroughly mixing. The solution can be applied with the garden sprinkler.^ Care must be taken to moisten the grain thoroughly. Sprinkle, stir the grain up thoroughly and sprinkle again, until every kernel is wet. After sprinkling, place the grain in a conical pile and cover with horse- blankets, gunny sacks, etc. The smut that does the damage lies just under the glume of the oats or on the basal hairs of the wheat. Covering the treated grain holds the gas from the formalin within the pile, where it comes in contact with the kernels, killing such smut spores as may have survived the previous treat- ment. After the grain has remained in a covered pile 2 to 4 hours, spread it out again where the wind can blow over it, to air and dry. As soon as the grain can be taken in the hand without the kernels sticking together, it can be sown in the field. The grain may be treated in the forenoon and seeded in the afternoon. Since this treatment swells the kernels it hastens germination and should be done in the spring just before seeding time. While the copper sulphate or blue- stone treatment is valuable in killing smut, the formalin treatment can be given in less time, is applied so easily and is so effectual that it is recommended as a sure and ready means of killing smut in wheat and oats. GRAINING CRAYONS: See Crayons. GRAINING COLORS: See Pigments. GRAINING WITH PAINT: See Paint. GRAINING, PALISANDER: See Palisander. GRAPE JUICE, PRESERVATION OF : See Wines and Liquors. GRAPHITE AS A LUBRICANT: See Lubricants. GRAVEL WALKS. For cleaning gravel walks any of the following may be used : I. — Gas-tar liqfior.' II. — Rock salt (cattle salt). III. — Hydrochloric acid. IV. — Sulphuric acid. V. — Fresh liniewater. The gas -tar liquor must be poured out a few times in succession, and must not touch the tree roots and borders of the paths. This medium is cheap. Cattle salt must like- wise be thrown out repeatedly. The use of hydrochloric and sulphuric acids is somewhat expensive. Mix 60 parts of water with 10 parts of unslaked lime and 1 part of sulphuric acid in a kettle, and sprinkle the not or cold mixture on the walks by means of a watering pot. If limewater is used alone it must be fresh ■ — 1 part of unslaked lime in 10 parts of water. GRAVERS: To Prepare Gravers for Bright-Cutting. — Set the gravers after the sharpening on the oilstone on high-grade emery (tripoli) paper. Next, hone them further on the rouge leather, but without tearing threads from it. In this manner the sil- ver and aluminum engravers grind their gravers. A subsequent whetting of the graver on the touchstone is not advisable, since it is too easily injured thereby. A graver prepared as described gives excel- lent bright engraving and never fails. In all bright-cutting the graver must be highly polished; but when bright- cutting aluminum a lubricant like coal- oil or vaseline is generally employed with the polished tool; a mixture of vaseline and Denzine is also used for this purpose. Another formula which may be recom- mended for bright-cutting aluminum is composed of the following ingredients: Mix 4 parts of oil of turpentine and 1 part of rum with 1 ounce of stearine. Immerse the graver in any of the mix- tures before making the biight-cut. GREASES: See Lubricants. GREASE ERADICATORS: See Cleaning Preparations and Meth- ods. 386 GRINDSTONES— GUMS GREASE PAINTS: See Cosmetics. GREEN, TO DISTINGUISH BLUE FROM, AT NIGHT: See Blue. GREEN GILDING: See Plating. GRENADES: See Fire Extinguishers. GRINDING: See Tool Setting. [NDER DISK TUTE FOR: See Adhesives. GRINDSTONES: To Mend Grindstones. — The mending of defective places in grindstones is best done with a mass consisting of earth- wax (so-called stone-pitch), 5 parts, by weight; tar, 1 part; and powdered sand- stone or cement, 3 parts, which is heated to the boiling point and well stirred to- gether. Before pouring in the mass the places to be mended must be heated by laying red-hot pieces of iron on them. The substance is, in a tough state, poured into the hollows of the stone, and the pouring must be continued, when it com- mences to solidify, until even with the surface. Treatment of the Grindstone. — The stone should not be left with the lower part in the water. This will render it brittle at this spot, causing it to wear off more quickly and thus lose its circu- larity. It is best to moisten the stone only when in use, drop by drop from a vessel fixed above it and to keep it quite dry otherwise. If the stone is no longer round, it should be made so again by turning by means of a piece of gas pipe or careful trimming, otherwise it will com- mence to jump, thus becoming useless. It is important to clean all tools and articles before grinding, carefully re- moving all grease, fat, etc., as the pores of the stone become clogged with these iinpurities, which destroy its grain and diminish its strength. Should one side of the grindstone be lighter, this ir- regularity can be equalized by affixing pieces of lead, so as to obtain a uniform motion of the stone. It is essential that the stone should be firm on the axis and not move to and fro in the bearings. Grindstone Oil. — Complaints are often heard that grindstones are occasionally harder on one side than the other, the softer parts wearing away in hollows, which render grinding difficult, and soon make the stone useless. This defect can be remedied completely by means of boiled linseed oil. When the stone is thoroughly dry, the soft side is turned uppermost, and brushed over with boiled oil, which sinks into the stone, until the latter is saturated. The operation takes about 3 to 4 hours in summer. As soon as the oil has dried, the stone may be damped, and used without any further delay. Unlike other similar remedies, this one does not prevent the stone from biting properly in the oiled parts, and the life of the stone is considerably length- ened, since it does not have to be dressed so often. GROUNDS FOR GRAINING COLORS: See Pigments. GUMS : (See also Adhesives, under Mucilages.) Gums, their Solubility in Alcohol. — The following table shows the great range of solubility of the various gums, and of various specimens of the same gum, in 60 per cent alcohol: Acajon 6.94 to 42.92 Aden 0.60 to 20.90 Egyptian 46.34 Yellow Amrad 26.90 to 32.16 White Amrad 0.54 to 1.50 Kordofan 1.40 to 6.06 Australian 10.67 to 20.85 Bombay 22.06 to 46.14 Cape 1.67 to 1.88 Embavi 25.92 Gedda 1.24 to 1.30 Ghatti 31.60 to 70.32 Gheziereh 1.50 to 12.16 Halebi 3.70 to 22.60 La Plata 9.65 Mogadore 27.66 East Indian 3.24 to 74.84 Persian 1.74 to 17.34 Senegal 0.56 to 14.30 Substitute for Gum Arabic. — Dissolve 250 parts of glue in 1,000 parts of boiling water and heat this glue solution on the water bath with a mixture of about 10 parts of barium peroxide of 75 per cent BaOa and 5 parts of sulphuric acid (66°) mixed with 115 parts of water, for about 24 hours. After the time has elapsed, pour off from the barium sul- phate, whereby a little sulphurous acid results owing to reduction of the sul- phuric acid, which has a bleaching action and makes the glue somewhat paler. If this solution is mixed, with stirring, and dried upon glass plates in the drying- room, a product which can hardly be GUNPOWDER STAINS— GYPSUM 387 distinguished from gum arable is ob- tained. An envelope sealed with this mucilage cannot be opened by moisten- ing the envelope. The traces of free acid which it contains prevent the in- vasion of bacteria, hence all putrefaction. The adhesive power of the artificial gum is so enormous that the use of cork stoppers is quite excluded, since they crumble off every time the bottle is opened, so that finally a perfect wreath around the inner neck of the bottle is formed. Only metallic or porcelain stoppers should be used. GUM ARABIC, INCREASING ADHE- SION OF: See Adhesives, under Mucilages. GUM BICHROMATE PROCESS: See Photography. GUM DROPS: See Confectionery. GUM -LAC: See Oil. GUMS USED IN MAKING VARNISH: See Varnishes. GUN BARRELS, TO BLUE : See Steel. GUN BRONZE: See Alloys, under Phosphor Bronze. GUN COTTON: See Explosives. GUN LUBRICANTS: See Lubricants. GUNPOWDER: See Explosives. GUNPOWDER STAINS. A stain produced by the embedding of grains of gunpowder in the skin is practically the same thing as a tattoo mark. The charcoal of the gunpowder remains unaffected by the fluids of the tissues, and no way is known of bring- ing it into solution there. The only method of obliterating such marks is to take away with them the skin in which they are embedded. This has been accomplished by the application of an electric current, and by the use of caustics. When the destruction of the true skin has been accomplished, it becomes a foreign body, and if the destruction has extended to a sufficient depth, the other foreign body, the color- ing matter which has been tattooed in, may be expected to be cast oil with it. Recently pepsin and papain have been proposed as applications to remove the cuticle. A glycerole of either is tattooed 13 into the skin over the disfigured part; and it is said that the operation has proved successful. It is scarcely necessary to say that suppuration is likely to follow such treat- ment, and that there is risk of scarring. In view of this it becomes apparent that any such operation should be under- taken only by a, surgeon skilled in dermatological practice. An amateur might not only cause the patient suffer- ing without success in removal, but add another disfigiirement to the tattooing. Carbolic acid has been applied to small portions of the affected area at a time, with the result that the powder and skin were removed simultaneously and, according to the physician reporting the case, with little discomfort to the patient. Rubbing the affected part with moistened ammonium chloride once or twice a day has been reported as a slow but sure cure. GUTTA-PERCHA. Gutta-Percha Substitute. — I. — A de- coction of birch bark is first prepared, the external bark by preference, being evaporated. The thick, black residue hardens on exposure to the air, and is said to possess the properties of gutta- fercha without developing any cracks, t can be mixed with 50 per cent of India rubber or gutta-percna. The com- pound is said to be cheap, and a good non-conductor of electricity. Whether it possesses all the good qualities of gutta-percha is not known. II. — A new method of making gutta- percha consists of caoutchouc and a rosin soap, th^ latter compounded of 100 parts of rosin, 100 parts of Carnauba wax, and 40 parts of gas-tar, melted together and Eassed through a sieve. They are eatod to about 356° to 340° F., and slowly saponified by stirring with 76 parts of limewater of specific gravity 1.06. The product is next put into a kneading machine along with an equal quantity of caoutchouc cuttings, and worked in this machine at a tempera- ture of 195° F. or over. When suffi- ciently kneaded, the mass can be rolled to render it more uniform. GUTTER CEMENT: See Cement and Putty. GYPSUM: See also Plaster. Method of Hardening Gypsum and Rendering it Weather-Proof. — Gypsum possesses only a moderate degree of strength even after complete hardening. 388 GYPSUM— HAIR PREPARATIONS and pieces are very liable to be broken off. Various methods have been tried, with a view to removing this defect and increasing the hardness of gypsum. Of these methods, that of Wachsmuth, for hardening articles made of gypsum and rendering them weather-proof, deserves special notice. All methods of hardening articles made of gypsum have this in common: the gypsum is first deprived of its moisture, and then immersed in a solution of certain salts, such as alum, green vitriol, etc. Articles treated by the methods hitherto in vogue certainly acquire considerable hardness, but are no more capable of resistance to the effects of water than crude gypsum. The object of Wachsmuth's process is not merely to harden the gypsum, but to transform it on the surface into insoluble combinations. The process is as fol- lows: The article is first put into the re- quired shape by mechanical means, and then deprived of its moisture by heating to 212° to 302° F. It is then plunged into a heated solution of barium hydrate, in which it is allowed to remain for a longer or shorter time, according to its strength. When this part of the process is complete, the article is smoothed by grinding, etc., and then placed in a solu- tion of about 10 per cent of oxalic acid in water. In a few hours it is taken out, dried, and polished. It then possesses a hardness surpassing that of marble, and is impervious to the action of water. Nor does the polish sustain any injury from contact with water, whereas gypsum articles hardened by the usual methods lose their polish after a few minutes' immersion in water. Articles treated by the method described have the natural color of gypsum, but it is possible to add a color to the gypsum during the hardening process. This is done by plunging the gypsum, after it has been deprived of its moisture, and before the treatment with the barium solution, into a solution of a colored metallic sulphate, such as iron, copper, or chrome sulphate, or into a solution of some coloring matter. Pigments soluble in the barium or oxalic-acid solutions may also be added to the latter. Gypsum may be hardened and rendered insoluble by ammonium borate as follows: Dissolve boric acid in hot water and add sufficient ammonia water to the solution that the borate at first separated is redissolved. The gypsum to be cast is stirred in with this liquid, and the mass treated in the ordinary way. Articles already cast are simply washed with the liquid, which is quickly absorbed. The articles withstand the weather as well as though they were of stone. GYPSUM FLOWERS: See Flowers. GYPSUM, PAINT FOR: See Paint. HAIR FOR MOUNTING. The microscopist or amateur, who shaves himself, need never resort to the trouble of embedding and cutting hairs in the microtome in order to secure very thin sections of the hair of the face. If he will first shave himself closely "with the hair," as the barbers say (i. e., in the direction of the natural growth of the hair), and afterwards lightly "against the hair" (in the opposite direction to above), he will find in the "scrapings" a multitude of exceedingly thin sections. The technique is very simple. The lather and "scrapings" are put into a saucer or large watch-glass and carefully washed with clean water. This breaks down and dissolves the lather, leaving the hair sections lying on the bottom of the glass. The after-treatment is that usually em- ployed in mounting similar objects. Hair Preparations DANDRUFF CURES. The treatment of that condition of the scalp which is productive of dandruff properly falls to the physician, but un- fortunately the subject has not been much studied. One cure is said to be a sulphiir lotion made by placing a little sublimed sulphur in water, shaking well, then al- lowing to settle, and washing the head every morning with the clear liquid. Sulphur is said to be insoluble in water; yet a sulphur water made as above indicated has long been in use as a hair wash. A little glycerine improves the preparation, preventing the hair from becoming harsh by repeated wash- The exfoliated particles of skin or "scales" should be removed only when entirely detached from the cuticle. They result from an irritation which is in- creased by forcible removal, and hence endeavors to clean the hair from them by combing or brushing it in such a way as to scrape the scalp are liable to be worse than useless. It follows that gentle handling of the hair is important when dandruff is present. HAIR PREPARATIONS 389 I- — Chloral hydrate 2 ounces Resorcin 1 ounce Tannin 1 ounce Alcohol 8 ounces Glycerine 4 ounces Rose water to make 4 pints II. — White wax SJ drachms Liquid petrolatum . . 2i ounces Rose water 1 ounce Borax 15 grains Precipitated sulphur . 3 J drachms Pine-Tar Dandruff Shampoo. — Pine tar 4 parts Linseed oil 40 parts Heat these to 140° F. ; make solution of potassa, U. S. P., 10 parts, and water, 45 parts; add alcohol, 5 parts, and gradually add to the heated oils, stirring constantly. Continue the heat untu saponified thoroughly; and make up with water to 128 parts. When almost cool, add ol. lavender, ol. orange, and ol. bergamot, of each 2 parts. HAIR-CURLING LIQUIDS. It is impossible to render straight hair curly without the aid of the iron or paper and other curlers. But it is possible, on the other hand, to make artificial curls more durable and proof against outside influences, such as especially dampness of the air. Below are trustworthy re- cipes: I II Water 70 80 Spirit of wine 30 20 Borax 2 — Tincture of benzoin . . — 3 Perfume ad. lib. ad. lib. HAIR DRESSINGS AND WASHES: Dressings for the Hair. — I. — Oil of wintergreen . 20 drops Oil of almond, es- sential 35 drops Oil of rose, ethereal 1 drop Oil of violets 30 drops Tincture of canthar- ides 50 drops Almond oil 2,000 drops Mix. Hair Embrocation. — II. — Almond oil, sweet . 280 parts Spirit of sal am- moniac 280 parts Spirit of rosemary. . 840 parts Honey water 840 parts Mix. Rub the scalp with it every morning by means of a sponge. Hair Restorer. — III. — Tincture of can- tharides 7 parts Gall tincture 7 parts Musk essence 1 part Carmine 0.5 part Rectified spirit of wine 28 parts Rose water 140 parts To be used at night. Rosemary Water. — IV. — Rosemary oil IJ parts Rectified spirit of wine 7 parts Magnesia 7 parts Distilled water 1,000 parts Mix the oil with the spirit of wine and rub up with the magnesia in a mortar; gradually add the water and finally filter. Foamy Scalp Wash.— Mix 2 parts of soap spirit, 1 part of borax-glycerine (1-1-2), 6 parts of barium, and 7 parts of orange-flower water. Lanolin Hair Wash. — Extract 4 parts quillaia bark with 36 parts water for several days, mix the percolate with 4 parts alcohol, and filter after having settled. Agitate 40 parts of the filtrate at a temperature at which wool grease becomes liquid, with 12 parts anhydrous lanolin, and fill up with water to which 15 per cent spirit of wine has been added, to 300 parts. Admixture, such as cin- chona extract, Peru balsam, cjuinine, tincture of cantharides, bay-oil, am- monium carbonate, menthol, etc., may be made. The result is a yellowish- white, milky liquid, with a cream-like fat layer floating on the top, which is finely distributed by agitating. Birch Water. — Birch water, which has many cosmetic applications, especially as a "hair wash or an ingredient in hair washes, may be prepared as follows: Alcohol, 96 per cent . . 3,500 parts Water 700 parts Potash soap 200 parts Glycerine 150 parts Oil of birch buds SO parts Essence of spring flowers 100 parts Chlorophyll, q. s. to color. Mix the water with 700 parts of the alcohol, and in the mixture dissolve the soap. Add the essence of spring flowers and birch oil to the remainder of the alcohol, mix well, and to the mixture add, little by little, and with constant agitation, the soap mixture. Finally 390 HAIR PREPARATIONS add the glycerine, mix thoroughly, and set aside for 8 days, filter and color the filtrate with chlorophyll, to which add a little tincture of saffron. To use, add an equal volume of water to produce a lather. Petroleum Hair Washes. — I. — Deodor- ized pale petroleum, 10 parts; citronella oil, 10 parts; castor oil, 5 parts; spirit of wine, 90 per cent, 50 parts; water, 75 parts. II. — Quinine sulphate, 10 parts; acetic acid, 4 parts; tincture of cantharides, 30 parts; tincture of quinine, 3 parts; spirit of rosemary, 60 parts; balm water, 90 parts; barium, 120 parts; spirit of wine, 150 parts; water, 1,000 parts. III. — Very pure petroleum, 1 part; almond oil, 2 parts. Brilliantine. — I. — Olive oil, 4 parts; glycerine, 3 parts; alcohol, 3 parts; scent as desired. Shake before use. II. — Castor oil, 1 part; alcohol, 2 parts; saffron to dye yellow. Scent as desired. III. — Lard, 7 parts; spermaceti, 7 parts; almond oil, 7 parts; white wax, 1 part. A Cheap Hair Oil.^ — I.^ — Sesame oil or sunflower oil, 1,000 parts; lavender oil, 15 parts; bergamot oil, 10 parts; and geranium oil, 6 parts. II. — Sesame oil or sunflower oil, 1,000 parts; lavender oil, 12 parts; lemon oil, 20 parts; rosemary oil, -5 parts; and geranium oil, 2 parts. HAIR DYES. There is no hair dye which produces a durable coloration; the color becomes gradually weaker in the course of time. Here are some typical formulas in which a mordant is employed: I. — Nitrate of silver J ounce Distilled water 3 ounces Mordant: Sulphuret of potas- sium J ounce Distilled water 3 ounces II.— (a) Nitrate of silver (crys- tal) IJ ounces Distilled water 12 ounces Ammonia water suf- ficient to make a clear solution. Dissolve the nitrate of silver in the water and add the ammonia water until the precipitate is redissolved. (6) 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 § ounce of water and add ammonia until the preciratate 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, com- posed of : IV. — Yellow sulphide am- monium 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 pyro- gallic acid may be increased. The wash IS applied evenings, followed in the morn- ing 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 solu- tion, properly applied, is said to produce a very black color; a lighter shade is secured by diluting the solution. Cop- per sulphate may JBe 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, pre- viously 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 Suidounces 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 HAIR PREPARATIONS 891 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 pre- cipitate first formed. Various shades of brown may be pro- duced by properly diluting the solution before it be applied. Bismuth subni- trate 200 grains Water 2 fluidounces Nitric acid, suffi- cient to dissolve, or about 420 grains Use heat to effect solution. Also: Tartaric acid .... ISO grains Sodium bicarbon- ate 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 sub- side; 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 miiiims 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: Glyterine 20 minims Sodium hyposul- phite 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. 2i 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 oint- ment 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 proc- ess is thoroughly performed for six suc- cessive nights, and tlie seventh night-an- other 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 hered- ity 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§ per cent; tincture of can- tharides, 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 cap- sicum is one of the best, and for a routine prescription the following has served well: Resorcin 5 parts Tincture capsicum. . IS parts Castor oil 10 parts Alcohol . 100 parts Oil of roses, sufficient. HAIR PREPARATIONS It is to be recommended that the stim- ulant be changed from time to time, so as not to rely on any one to the exclusion of others. Jaborandi, oxygen gas, qui- nine, 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 re- storing 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-men- tioned 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, be- cause the baldness is .practically never complete, and a certain proportion of the nairs 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 rose- mary 1 part Tincture of jabor- andi 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 percent, 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 tinc- ture 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 ge- ranium oil 25 drops Tincture of canthar- ides 8 drachms Pinaud Eau de Quinine. — The com- position of this nostrum is not known. Dr. Tsheppe failed to find in it any con- stituent 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 canthar- ides 2 parts Spirit of lavender. . . lO'parts Glycerine 15 parts Alcohol 100 parts SHAMPOOS : A Hair Shampoo is usually a tincture of odorless soft soap. It is mostly per- fumed with lavender and colored with green aniline. Prepared the same as tr. sapon. virid. (U. S. P.), using an inexpen- sive soft soap, that is a good foam pro- ducer. Directions: Wet the hair well in warm water and rub in a few teaspoon- fuls of the following formulas. No. I is considered the best: HAIR PREPARATIONS— HAT WATERPROOFING I 11 III IV Parts used Cottonseed ofl — 24 26 14 Linseed oil 20 — ~ — Malaga olive oil .... 20 — — — Caustic potash 9^ 8 6 3 Alcohol 5 4i 5 2 Water 30 26 34 16i Warm the mixed oils on a large water bath, then the potash and water in an- other vessel, heating both to 158° F., and adding the latter hot solution to the hot oil while stirring briskly. Now add and thoroughlj; mix the alcohol. Stop stir- ring, keeping the heat at 158° F., until the mass becomes clear and a small quan- tity 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 6 parts Cologne water 10 parts Alcohol 20 parts Rose water 30 parts II. — Soft soap 24 parts Potassium carbon- ate 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 co- logne 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 carbon- ate 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 shav- ings, and the potassium carbonate, and heat on a water bath until thoroughly softened; add the glycerine and oils. If necessary to reduce to proper consist- ency, more w^ter may be 944^4' Egg Shampoo. — Whites of 2 eggs Water 5 fluidounces Water of ammonia . 3 fluidounces Cologne water J 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 con- tain 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 Si pounds of lard over a salt-water bath and run into it a lye formed by dissolving 8 ounces of caustic potassa in IJ pints of water. Stir well until saponification is effected and per- fume 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 PREPA- RATIONS: See Leather Dressings. HARNESS WAX: See Waxes. HAT-CLEANING COMPOUNDS: See Cleaning Compounds. HAT WATERPROOFING: Se^ Waterproofing. HATS— HERBARIUM SPECIMENS HATS: Dyeing Straw Hats. — The plan een- erally 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 olue or green). Olive-brown, 15 parts of bril- liant-green, 55 parts of Bismarck brown R, 8 parts of spirit blue. Olive-green, 28 pai-ts of brilliant-green, 28 parts of Bis- marck-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 var- nish as follows: Sandarac, 1,350 parts; elemi, 450 parts; rosin, 450 paits; 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 in- dulin. Violet, 28 parts of methyl-violet, 3 B. Crimson, 55 parts of safranin. Chest- nut, 55 parts of safranin, 16 parts of in- dulin. 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, tur- pentine, and so forth, reclaiming the spirit and shellac by a suitable still. HEADACHE REMEDIES: See also Pain Killers. Headache Cologne. — As amitigant 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 atmos- phere for a short time, becomes worth- less, and will spoil the other materials. A delightful combination of the acetic odor with that of cologne water maj^ 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 in- dicated, may be made by adding to a pint of cologne water an ounce of am- moniated alcohol. Liquid Headache Remedies. — Acetanilid 60 grains Alcohol 4 fluidrachms Ammonium carbon- ate 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 Prance for hoarseness, and is still used in country districts, but is not often prescribed. Liquid ammonia 10 drops Syruj) of erysimum IJ ounces Infusion of lime flowers. S ounces To be taken at one dose. HERBARIUM SPECIMENS, MOUNT- ING. 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 HERBARIUM SPECIMENS— HECTOGRAPH PADS 395 corrosive sublimate to an ounce of me- thylated spirit. In tropical climates the solution is generally used of twice this strength. There are several methods of mountins 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 dry- ing. This may, in some measure, be prevented by dipping them in boiling water before drving, 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 prepara- tion 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 ajid seeds placed loose in envelopes on the same sheet for purposes of comparison or microscopic exami- nation. 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 pa.ssed 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 dupli- cated 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 super- fluous 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 propertj; of remain- ing 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 con- sistency, 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^ ounces Sugar 2 ounces II. — Water 10 ounces Dextrin IJ ounces Sugar 2 ounces Gelatin 15 ounces Glycerine 15 ounces Zinc oxide IJ ounces III. — Gelatin 10 ounces Water 40 ounces Glycerine 120 ounces Barium sulphate . . 8 ounces The Tokacs patent composition, be- sides the usual ingredients, such as gela- tin, glycerine, sugar, and gum, contains soap, and can therefore be washed off much easier for new use. The smooth- ness 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 -svith 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 HECTOGRAPH INKS— HORN 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, J 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 S 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.— Puchsin 10 parts Alcohol 10 parts Glycerine 10 parts Water 60 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 Meth- ods. HOARHOUND CANDY: See Confectionery. HOARSENESS^ CREAM BON-BONS FOR: See Confectionery. HOARSENESS, REMEDY FOR: See Cough and Cold Mixtures and Tur- pentine. 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 contain- ing i 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, 'ftke 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 de- tection 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 sol- vents, such as alcohol or ether, or eon- duct 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 solu- tion 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 re- moving their odor of camphor, the com- pounds are steeped in formaldehyde from several hours to as many days. HORN— HOUSEHOLD FORMULAS 397 according to the thickness of the object treated. When the formaldehyde has penetrated through the mass and dis- solved the camphor, the object is taken out of the liquid and dried. Both the camphor extracted and the formalde- hyde used can be recovered by distilla- tion, and used over again, thus cheapen- ing 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 S 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 ap- pears 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 ary 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 wnere 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 da^s in a solution of water, 1 part; nitric acid, 3 parts; wood vinegar, S parts; tannin, 5 parts; tartar, 2 parts; and zinc vitriol, S.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 dur- ing the past few years. It has many features which commend it as a roofing material, but difficulties have been ex- perienced by beginners as to the proper method of applying it to the roof. Ihe weight of material used is rather heavy to permit of double seaming, but a meth- od has been evolved that is satisfac- tory. 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 IJ-inch edge is turned up the entire length of one side of the sheet, as indicated in Fig. 1. This operation is J FIG. 1 FIG. 3 FIG. S FIG. 4 n CLEAT FIG. 6 done with tongs having gauge pins set at the proper point. The second o^ein 398 HOUSEHOLD FORMULAS ation consists in turning a strip i _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 IJ 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 ham- mered with a wooden mallet. The fin- ished seam is shown in Fig. 6. It will be seen that the second sheet of galvan- ized iron, cut I 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 domes- tic 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 disap- point 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 pro- duced 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 occasion- ally with a sponge. Among those things which at least assist one in bearing tne affliction is fre- quent change of underwear. The under- garments worn during the day should never be worn at night. Scratching or rubbing should be avoided where pos- sible. Avoid stitaulating food and drinks, especially alcohol, and by all means keep the bowels in a soluble con- dition. 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; parafline, 18; ker- osene, 4. 11.^ — Yellow wax, 1 part; carnauba wax, 2; turpentine oil, 10; benzine, 5. Lavatory Deodorant. — Sodium bicarbonate. . 5 ounces Alum 5J 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. Intro- duce enough hydrochloric acid to dis- solve the precipitate of aluminum hy- drate whicn forms and then add the potassium bropiide. Add enough water to bring the measure of the finished prod- uct 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 tne following manner: Make a sojution of shellac, 1,000 partff; 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 solu- tion may be colored with any of the alcohol soluble aniline colors. The shel- lac solution, by the way, may be applied to the outside of chests, etc., and finished off after the fashion of "French polish." HOUSEHOLD FORMULAS 399 When used this way, a prior application of 2 coats of linseed oil is advisaole. Stencil Marking Ink that will Wash Out. — Triturate together 1 part of fine soot and 2 parts of Prussian blue, with a little glycertiTie; then add 3 parts of gum arable and enough glycerine to form a thin paste. Washing Fluid. — Take 1 pound sal soda, J 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 begin- ning to boil, then put in 1 common tea- cupful of fluidj 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, i pound, and boiled with it for 2 or 3 minutes, will add greatly to the beauty of linen, to which it may be ap- plied. To Make Loose Nails in Walls Rieid. — As soon as a nail driven in the wall be- comes 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 ^lue; 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 naif 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 car- bonaceous residue is left, which attaches itself very firmly to the metal alongthe edge of the burner next the flame. This is especially true of round burners, where the heat of the flame is more in- tense than in flat ones, and the deposit of carbon, where not frequently removed, soon gets sufficiently heavy to interfere seriously with the movementof the wick up or down. The deposit may be scraped off with a knife blade, but a much more satisfactory process of get- ting rid of it is as follows: Dissolve so- dium carbonate, 1 part, in 5 or 6 parts of water, and in this bojl the burner for 5 minutes or so. When tauten out the burner will look like a new one, and acts like one, provided that the apparatus for raising and lowering the wicknas not previously been bent and twisted by at- tempting 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 dry- ing. To Remove Woody Odor — To get rid of that frequently disagreeable smell in old chests, drawers, etc., paint the sur- face over with the following mixture: Acetic ether 100 parts Formaldehyde 6 parts Acid, carbolic 4 parts Tincture of eucalyp- tus leaves 60 parts Mix. After applying the mixture ex- pose the article to the open air in the sun- light. To Keep Flies Out of a House. — Never allow a speck of food to remain uncov- ered in dining room or pantry any length of time after meals. Never leave rem- nants 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 De 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 Com- fortable. — 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 cover- ing,, 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 fives a soft feeling to the foot, and by iminishing the wear adds longer life to the carpet; at the same time it tends to keep away the air and renders the apart- ments 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 HOUSEHOLD FORMULAS 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 J inch, and after this has set it may be cut and roughened by a pointing trowel. Then apply a second i-inch coat and finish this to an even and smooth sur- face. Proportion of plaster: One-haff part slaked lime, 1 part Portland ce- ment, 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 dis- solved, the surface being then gone over with a "scraper" or other tool. How- pver, 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 evapo- rates_ and the lime forms a sort of in- sulating layer — one can proceed painting with size eolor, and the spots will not show through again. To Overcome Odors in Freshly Papered Rooms. — After the windows and dOQig Qf such rooms have been closed,_ bring in red-hot coal and strew on this several handfuls of funiper 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 caoutcnouc glue, which is pre- pared 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 ap- plied 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 ap- plied, 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 solu- tion and stand aside warm, stirring dili- gently. After 5 minutes take away from the fire and painting may be com- menced. Before a fresh application, however, the solution should be removed. When this coating has dried complete- ly it is covered with oil or varnish paint, preferably the latter. In the same man- ner the exudation of so-called saltpeter HOUSEHOLD FORMULAS— HYDROMETER 401 in fresh masonry or on the exterior of fa9ades, etc., may be prevented, size paint or lime paint being employed in- stead of the oil-varnish paint. New walls which are to be painted will give off no more saltpeter after 2 or 3 appli- cations 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 com- pletely 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 Ver- min, — 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 SO or 60 parts for 3,000 parts. Care of Refrigerators. — See that the sides or walls of all refrigerators are oc- casionally scoured with soap, or soap and slaked lime. Dust Preventers. — Against the bene- ficial effects to be observed in the use of most preparations we must place the following bad effects: The great smooth- ness and slipperiness of the boards dur- ing the first few days after every appli- cation of the dressing, which forbids the use of the latter on steps, floors of gymna- sia, 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. Be- sides tl^ese there is, especially during the flrst 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 infor- mation, these evil tendencies of the appli- cation 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 accord- ing to recent experiments, none of the oils experimented upon possess any es- pecial advantages over the others. An overwhelming majority of the laboratories for examination have given a verdict in favor of oil as a dust-sup- pressing 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 develop- ment. 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 man- ner, 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 PRE- SERVATIVE: 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 tem- perature 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 40^ HYGROMETERS— ICE incorrect reading by possible refraction in the glass cylinder. HYGROMETERS AND HYGRO- SCOPES: Paper Hygrometers. — Paper hygrom- eters are made by saturating white blot- ting paper with the following liquid and then nanging up to dry: Cobalt chloride 1 ounce Sodium chloride J ounce Calcium chloride 75 grains Acacia J ounce Water 3 ounces The amount of moisture in the atmos- phere is roughly indicated by the chang- ing color of the papers, as follows: Rose red rain Pale red verjf moist Bluish red moist ' Lavender blue .... nearly dry Blue very dry Colored Hygroscopes. — These instru- ments are often composed of a flower or a, figure, of light muslin or paper, im- mersed 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 10x10x9, 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 re- move 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 com- mon unglazed flower-pot, holding about 2 to 4 quarts and placed upon a porce- lain 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 sufBciently cold, put the plate, as nearly level as pos- sible, out into the cold air to freeze. In freezing, water is abstracted from the colloidal portion, which latter then as- sumes ah efflorescent form, little flowers, with exuberant, graceful curves of crys- tals, 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. IGNITING COMPOSITION— INKS 403 ISK ERADICATORS: See Cleaning Preparations and Meth- ods. IGNITING COMPOSITION. Eight parts of powdered manganese, 10 parts of amorpnous 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 sul- phur, can be applied on match-boxes. Inks BLUEPRINT INKS. I. — For red-writing fluids for blue- prints, take a piece of common washing soda the size of an ordinary bean, ana 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 ox^ate 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 yellowisn. 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 corre- sponding 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 arable 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, § gill, ooiling 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 black- ish red, but an ink may be made that will retain its brilliant carmine color to the last by the following process, given by Dingier: Triturate 1 part of pure car- mine with 15 parts of acetate of ammonia solution, with an equal cjuantity of dis- tilled 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 am- monia salt, and separates as a precipi- tate, while the pure pigment of the cochineal remains dissolved in the half- saturated ammonia. It is now filtered and a few drops of pure while sugar syrup added to thicken it. A solution of gum arable cannot be used to thicken it, since the ink still contains some acetic acid, which would coagulate the bas- sorine, one of the constituents of the gum. Liquid Indelible Drawing Ink. — Dis- solve, 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 woolten 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 alloweyd 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 INKS 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 hydro- chloric acid. To use, mix equal vol- umes 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 mix- ture 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, i£ 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 recom- mended 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 dis- tilled 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 por- tion 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 at- tempting to write on them. According to Schuh, a mixture of a shellac solution and whiting or precipi- tated chalk answers very well for mark- ing 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 re- main 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, J pound; mix well. II. — Trinidad asphaltum and oil of turpentine, equal parts. Used in a melted state to fill in the letters on tomb- stones, marbles, etc. Without actual violence, it will endure as long as the stone itself. Ink for Steel Tools. — Have a rubber stamp made withjvhite letters on a black ground. Make up an ink to use with this stamp, as follows: Ordinary rosin, } pound; lard oil, 1 tablespoonf ul ; lampblack, 2 tablespoon- fuls; turpentine, 2 tablespoonf uls. 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 letter- ing 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 muri- INKS 405 atic 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 sl>onge. 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 arable, 20 parts; distilled water, 30 parts. Dissolve the gum arable 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 Horti- cultural 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 rub- bing up gold leaf as thoroughly as pos- sible 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 cold is finer than can be got by any rub- bing, 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 to- gether 500 parts of nut oil, 200 parts of garlic, 500 parts of eocoanutoil, 100 parts of Naples yellow, and as much of sienna. HORTICULTURAL INK. I. — Chlorate of platinum, J ounce; soft water, 1 pint. Dissolve and pre- serve it in glass. Used with a clean quill to write on zinc labels. It almost immediately turns black, and cannot be removed by washing. Tte 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 J ounce; levigated lampblack, J ounce; common vinegar, J pint; mix thoroughly. Used as the last, for either zinc, iron, or steel. III. — Blue vitriol, 1 ounce; sal am- moniac, J ounce (both in powder); vine- gar, J pint; dissolve. A little lamp- black 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 water- proof, 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 prepara- tion for laundry use: Aniline oil 85 parts Potassium chlorate. . . 5 parts Distilled water 44 parts Hydrochloric acid, pure (specific grav- ity, 1.124).. 68 parts Copper chloride, pure 6 parts Mix the aniline oil, potassium chlor- ate, 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. Dis- solve the copper chloride in the residue of the water, add the remaining hydro- chloric acid to the solution, and add the whole to the liijuid 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) con- tainers. 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 INKS 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 fol- lows: 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 (juite 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 pro- duced 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 porduced in this way. A very rich purple color^the purple of Cassius — may be produced by substituting a solu- tion of gold chloride for the platinic chloride in the above formula. Crimson Indelible Ink. — The following formula makes an indelible crimson ink: Silver nitrate SO parts Sodium carbonate, crystal 75 parts Tartaric acid 16 parts Carmine 1 part Ammonia water, strongest 288 parts Sugar, white, crystal- lized 36 parts Gum arabic, pow- dered 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 ■», filter, wash, and put the washed precipi- tate, still moist, into a mortar. To this add the tartaric acid, and rub together until eflfervescence ceases. Now, dis- solve the carmine in the ammonia water (which latter should be of specific grav- ity .882, or contain 34 per cent of am- monia), 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 con- stant agitation, sufficient distilled water to make 400 parts. Gold Indelible Ink, — Make two solu- tions 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 pre- pared 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 lamp- black, 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 po- tassa, 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 decoc- tion 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 salt- INKS 407 water bath. It is, lastly, made into a Easte, as before, with lampblack which as been previously heated to dull red- ness 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 dis- solved by heating. The ink flows well from the pen and does not wipe. INK POWDERS AND LOZENGES. Any of these powders may, by the ad- dition of mucilage of gum arable, be made into lozenges or buttons — the "ink buttons" or "ink stories" in use abroad and much affected by travelers. The following makes a good service- able black ink, on macerating the pow- der in 100 times its weight of rain or distilled water for a few days: I. — Powdered gallnuts . . 16 parts Gum arable 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 instant- ly 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 J parts of tincture of indigo. Put into the water bath and evaporate to dry- ness and powder the dry residue. LITHOGRAPHIC INKS. These are for writing on lithographic stones or plates: I. — Mastic (in tears), 8 ounces; shel- lac, 12 ounces; Venice turpentine, 1 ounce. Melt together, add wax, 1 pound; tallow, 6 ounces. When dis- solved, add hard tallow soap (in shav- ings), 6 ounces; and when the whole is perfectly combined, add lampblack, 4 ounces. Mix W?ll, cool a little ondtben 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 commort 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 com- mercial 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 sul- phate of iron in equal parts. Particu- larly 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 INKS Hot distilled water ... 24 ounces Oxalic acid 10 grains Sugar J ounce Shake well. This and other aniline inks can be perfumed by rubbing up a drop of attar of rose with the sugar oe- forg dissolving it in the hot water. II. — A solid blue ink, or marking paste, to be used with a brush for sten- ciling, is made as follows: Shellac, 2 ounces; borax, 2 ounces; water, 25 ounces; gum arable,' 2 ounces; and ul- tramarine, 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 'vhole 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 lamp- black, pine-wood, rosin oil, etc., ac- cording to the quality of the ink desired. The finest inks are made from flame- lampblack. There are, however, cer- tain requirements made of all printing inks alike, and these are as follows: The ink must be a thick and homoge- neous liquid, it must contain no solid matter but finely divided carbon, and every drop when examined microscopic- ally must appear as a clear liquid con- taining black grains uniformly distrib- uted. 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 thou- sands 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, espe- cially in large type. The question of the time that the ink takes to dry on the paper is a very impor- tant 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 oflf" so much that it becomes illegible in places. Although it is essential to have a quick drying ink for this purpose, it is danger- ous 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 de- finite 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 commu- nicate 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 coraposition, 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 man- ufacture are given in recipes, so many, in fact, that it is impossible to discover what use they are in the ink. The fol- lowing is a list of the articles commonly in use for the manufacture of printing Boiled linseed oil, boiled without driers. Rosin oil from the dry distillation of rosin. Rosin itself, especially American pine INKS 409 Soap, usually rosin-soap, but occa- sionally ordinary soap. Lampblack and various other pig- ments. 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 ex- tinguished by putting a lid on the pot. In this way a liquid was obtained of a dark brown or black color with par- ticles of carbon, and with a consistency varying with the period of heating, being thicker, the longer the heating was con- tinued. 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 tl^e 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 quan- tities of oxygen and are thereby coh- verted into tough, solid sheets having Properties very similar to those of soft ndia rubber. The process goes on much faster with the aid of heat than at the or- dinary 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 de- compose 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 consist- ency with unboiled oil. In boiling linseed oil down to the proper thickness by the old method there are two points demanding special atten- tion. One is the liability of the oil to boil over, and the other consists in the devel- opment of large quantities of vapor, most- ly of acroleine, which have a most power- ful 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 copaioa, 9 ounces; lampblack, 3 ounces; indigo and Prussian blue, each 5 drachms; drachms; Indian red, f 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 i» remarkable stable substance, and is very apt to turn brown from the forma- tion 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. Ex- cellent 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 in- digo 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§ 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 INKS they will be found to have a rich bronze or changeable hue. Quick Dryer for Inks Used on Book- binders' Cases. — Beeswax, 1 ounce; gum arable (dissolved in sufficient acetic acid to make a thin mucilage), J ounce; brown japan, J 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 ap- plied to a suitable pad it remains suffi- ciently 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. For- merly these inks were made by rubbing up pigments in fat to a paste. Such inks can hardly be prevented, however, from making irnpressions 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 dis- solve 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 glyc- erine and heat till the spirit is evapo- rated. To see whether the ink is property made spread some of it on k 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 impres- sion 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 8 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 mix- ture 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 nigro- sin directed. These colors are freely soluble in water, and yield a deep green- ish-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 oflfered. There are comparatively few coloring substances that can be con- sidered permanent even in a qualified sense. Among these, charcoal takes a foremost place. Lampblack remains indefinitely unaltered. This, ground very finelj; with glycerine, would yield an ink ivhich would perhaps prove serv- iceable 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 color- ing matters. Almost any aniline color may be substituted for nigrosin in the foregoing formula, and blue, ^reen, red, purple, and other inks obtained. In- soluble 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 con- tains 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-sup- porting, but should be held in a low, flat pan, and have a permanent cloth cover. III. — The composition consists pref- erably of 1 part gelatin, 1 part water, 6 parts glycerine, and 6 parts coloring matter. A suitable black color can be INKS 411 made from the following materials : One part gelatin glue, 3 parts lampblack, aniline black, or a suitable quantitjj of logwood extract, 10 parts of glycerine, 1 part absolute alcohol, 2 parts water, 1 part Venetian soap, ^ 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, 1 part Venetian soap, and i 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 pre- paring the pad is to swell the gelatin with cold water, then boil and add the glycerine, etc. V. — Mix well 16 pounds of hot lin- seed 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 ultra- marine or Prussian blue for the lamp- black, a blue "ink" or paint would result. Inks for Hand Stamps. — As an excip- ient 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 ex- amples: 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 in- tensity of color desired. Red. — Dissolve J ounce of carmine in 2 ounces strong water of ammonia, and add 1 drachm of glycerine and | ounce "dextrin. Blue. — Rubl ouncePrussian blue with enough water to make a perfectly smooth paste; then add 1 ounce dextrin, incor- porate it well, and finally add sufficient water to bring it to the proper consis- tency. Blue. — Oil soluble aniline blue, 1 part; crude oleic acid, 2 parts; castor oil, 30 to 32 parts. Violet. — Alcohol, 15 ounces; glycer- ine, 15 ounces; aniline violet, 2 to 4 drachms. Mix, dissolve, pour the solu- tion on the cushion, and dab on with a brush. Color Stamps for Roug:h 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 it 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 arable 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 pow- der 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, ex- pose to the sunlight or use a not iron. The quantity of glycerine may be varied to suit circumstances. White Stamping Ink for Embroidery. — Zinc white 2 drachms Mucilage 1 dra,chm 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 INKS with a little water. Apply with a small brush. II. — Triturate together 1 pint pine soot and 2 pints Prussian blue witn a little glycerine, then add 3 pints gum arable 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 IJ ounces Water 10 ounces Boil together until 10 ounces of solu- tion is obtained. The coloring: Prussian blue 1 ounce China clay J ounce Powdered acacia ... J ounce Mix thoroughly and gradually incor- porate the shellac solution. II. — Prussian blue 2 ounces Lampblack 1 ounce Gum arable 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; sul- phate 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, J ounce; water, J 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, IJ 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 Llaking S3rmpathetic Inks. — For writing and for bringing out the writing: Cobalt chloride, heat. Cobalt acetate and a little saltpeter, he»t. 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 caroonate, phenol- phthaleine. A sympathetic ink is one that is in- visible when written, but which can be made visible by some treatment. Com- mon 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 plati- num or iridium become black when the paper is submitted to mercurial vapor. This ink maj 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 prop- erty of becoming red by sulphocyanide vapors (arising from the action of sul- phuric acid on potassium sulphocyanide in a long-necked flask), and it disappears INKS 413 by ammonia, and may alternately be made to appear and disappear by these two vapors. VII. — Write with a solution of paraf- fine 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 arable. 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 miputes, 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 becom- ing 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 con- sistence 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 agi- tation, by means of a soft brush, and rub it well into the interstices of the rib- bon 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 i ounce Pure alcohol 15 ounces Concentrated glycer- ine 15 ounces Dissolve the aniline black in the alco- hol, and add the glycerine. Ink as be- fore. The aniline inks containing glyc- erine are copying inks. III. — Alcohol 2 ounces Aniline color J ounce Water 2 ounces Glycerine 4 ounces Dissolve the aniline in the alcohol and add the water and glycerine. IV. — Castoroil 2 ounces Cassia oil J ounce Carbolic acid § 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 ben- zine 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 glyc- erine. 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 INKS WRITING INKS. The common writing fluids depend mostly upon galls, logwood, or aniline for coloring. There are literally thou- sands of formulas. A few of the most re- liable have been gathered together here: I. — Aleppo galls (well bruised), 4 ounces; clean soft water, 1 quart; mac- erate in a clean corked bottle for 10 days or a fortnight or longer, with fre- quent agitation; then add of gum arable (dissolved in a wineglassful of water), IJ ounces; lump sugar, J ounce. Mix well, and afterwards further add of sulphate of iron (green copperas crushed small), IJ 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 em- ployed. Product, 1 quart of excellent ink, writing pale at first, but soon turn- ing 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 evap- oration; strain, and again boil the galls with water, 4 gallons, for J hour; strain off the liquor, and boil a third time with water, 2J gallons, and strain. Mix the several liquors, and while still hot add of green copperas (coarsely pow- dered), 4 J pounds; gum arable (bruised small), 4 pounds. Agitate until dis- solved, 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 thepi in a small cask, and add boiling soft water, 15 gallons. Allow the whole to macer- ate, with frequent agitation, for a fort- night, then further add of green cop- peras, 5 pounds, dissolved in water, 7 pints. Again mix well, and agitate the whole once daily for 2 or 3 weeks. Prod- uct, 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, sub- stitute for the black coloring sulphate of indigo and dilute it with water till it pro- duces 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 arable, lump sugar or sugar candy, J pound; dissolved in water, 3 pints. Product, 4 J 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 fre- quent 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^ ounces; bruised cloves, 1 drachm; cold water, 40 ounces; purified sulphate of iron, IJ ounces; pure sulphuric acid (by measure), 35 minims; sulphate of in- digo (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, dis- solve completely, and filter through paper. Then the acid, and agitate briskly. Lastly, the indigo, and thor- oughly mix by shaking. Pass the whole through paper; just filter out of one bot- tle 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, 5i ounces of galls is the ciuantity. 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 arable. Any of the ordinary water-color cakes employed in drawing diffused through water may also be used for colored ink. INKS 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 pre- pared 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, un- sized 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 up- wards. 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 flat- iron over the paper laid upon the writ- ing. The following proportions are em- ployed: I. — Sugar candy or lump sugar, 1 ounce; or molasses or moist sugar, IJ ounces; rich black ink, IJ pints; dis- solve. II. — Malt wort, 1 pint; evaporate it to the consistence of a syrup, and then dis- solve it in good black ink, 1} pints. III. — Solazza juice, 2 ounces; mild ale, J pint; dissolve, strain, and triturate with lampblack (previously heated to dull redness in a covered vessel), J ounce; when the mixture is complete, add of strong black, IJ 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 ex- tract of aqueous myrobalous and 10.5 parts iron filings or turning shavings. Finally add : Gum arable 1.5 parts Sugar 7.5 parts Sumhuric 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, recti- fied 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 transferrence. It is only necessary to place the page of writing in the letter book, just as one would use a leaf of blot- ting paper. The superfluous ink that would go into the blotting paper goes on to the leaf of the letter book, and show- ing 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 copy- ing paper, is removed by placing a sheet of blotting paper between them, and run- ning one's hand firmly over the whole in the ordinary manner. This ready tran- scription is accomplished by using ink which dries slowly. Obviously the ink must dry sufiiciently slowly for the cha,racters 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 loeing 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 arable, 1 part; rubbed up to a proper condition. Green Ink. — A good, bright green, aniline ink may be made as follows: Aniline green (solu- i ble) 2 parts Glycerine 16 parts Alcohol 112 parts Mucilage of gum ara- ble 4 parts Dissolve the aniline in the alcohol, and add the other ingredients. Most of the gum arable 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 INKS Hectograph Inks (see also Hectograph). I. — Black. —Methyl violet, 10 parts; nigrosin, 20 parts; glycerine, 30 parts; gum arable, 5 parts; alcohol, 60 parts. II. — Blue. — Resorcin blue M, 10 parts. Dissolve by means of heat in a mix- ture 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 i parts of bichromate of potash, pulverized, and mixed with 25 parts of acetic- acid; 50 parts of liquid extract of logwood; J part of picric acid; 10 parts of pulverized sal sorrel; 10 parts of mucilage; and J 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 qual- ity 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 ingre- dients in the same proportions as blue, with the difference tnat 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 pul- verized 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 arable 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, li 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 arable and alum, of each, J 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 nigro- sin 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 resi- due with a mucilage of equal parts of gum arable 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 Suver bronze 3 drachms Rub together, until perfectly smooth, INKS— INSECT BITES 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 mix- ture 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 re- quires 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 other- wise, 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, J ounce. II. — Boil French berries, J pound, and alum, 1 ounce, in rain water, 1 quart, for J an hour, or longer, then strain and dissolve in the hot liquor gum arable, 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 draw- ings 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 con- ductive 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 21 drachms Spirit of ammonia . . 5| 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 unavail- able. 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 cof- fee 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 to- bacco fishes is due to the presence of 418 INSECTICIDES 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. — Re- cent successful applications of hydro- cyanic 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 IJ 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 in- sects. 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 inflam- mable; therefore it would be well to put out all fire in an inclosure before fumi- gating. 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 con- tact 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 inexpe- rienced 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. Ex- periments have shown that a sroaller dose and a shorter period of exposure are required to kill mice than for roaches and household insects generally, and it read-, ily 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 meth- od 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 capac- ity for each 5,000 cubic feet of space to be fumigated. Distribute the ]ars ac- cording 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 potas- sium 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 IJ pints of commer- cial sulphuric acid, stirring freely. The action of the acid will bring the temper- ature 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 pre- vent 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 Eotash, which remains in the jar, and the ydrocyanic acid is liberated and es- INSECTICIDES 419 capes 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 ol potassium is passed, so that when the cord is re- leased the paper will desfcend 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 Avith 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 car would be sufficient, but for storage ouses 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 in- creased and the time of exposure some- what shortened, but this increases the cost and does not do the work so thor- oughly. 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 par- ticular insect, or in eradicating them where they have become thoroughly established. This method will be found very advantageous in clearing old build- ings and ships of cockroaches. APPLICATIONS FOR CATTLE, POUL- TRY, ETC.: See also Veterinary Formulas, 14 I Parts by weight. Fly Protect! ves 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 mix- ture 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 Naphthalene 100 Camphor 60 Animal oil 25 II. — Bay oil, pressed .. . 400 Naijhthalene 100 Crude carbolic acid 10 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 comb- ing 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 naph- thalene; i ounce liquid carbolic acid. Mix thoroughly and put up in half- pound tins or boxes. Sprinkle about the nest for use. Il.^Oil of eucalyptus smeared about the coop will cause the parasites to leave. To drive them out of the ncsfs of sitting hens, place in the nest an egg that has been emptied, and into whicli 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. 4.20 INSECTICIDES 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 pe- troleum. 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 effect- ive agent, but both substances have the drawback of a very penetrating and dis- agreeable odor. Boiling water is deadly to ants wherever it can be used (as in the garden, or yard around the house). So is carbon disul- phide injected into the nests by aid of a good, big syringe. An emulsion of pe- troleum and water (oil, 1 part; water, 3 parts) poured on the eartn has proven very efficacious, when plentifully used (say from 1 ounce to 3 ounces to the square yard). A similar mi.xture of cal- cium sulphide and water (calcium sul- phide, 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 ob- noxious 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 rec- ommended to destroy ants' nests on lawns. A little of the disulphide is poured into the openings of tne hills, stepping on each as it is treated to close it up. The volatile vapors of the disul- phide 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 larvae 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 J ounces II. — Powdered cloves. .. . 1 ounce Insect powder 1 ounce Scatter around where ants infest. III. — Cape aloes J 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 prepara- tion: To half a gallon of kerosene oil add a quart of spirit of turpentine and an ounce of oik of pennyroyal. This mix- ture 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 ingre- dients 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 ana 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 inas- much as people insist on having this a few formulas are given. I. — Common soap 1 av. ounce Ammonium chlo- ride 3 av. ounces Corrosive sublimate 3 av. ounces Water enough to make 32 fluid- ounces. 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 ijsy INSECTICIDES 421 of Paris green or Lon-don purple, if de- sired. 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 pre- ferred. It is possible to make a cold in- fusion of white hellebore of 25 per cent strength, and in 1 quart of infusion dis- solve 1 ounce of common soap. The ad- vantage of the soap paste is simply to keep tne 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 sub- stances are the most employed, and are probably the best: Kerosene, turpentine, benzine, carbolic acid, corrosive subli- mate 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 eucalyp- tus leaves in it for 24 hours; then strain and make up the measure to 1 pint, hav- ing first added the oil of eucalyptus. FLY-KILLERS. A fly poison that is harmless to man may be made from quassia wood as fol- lows: 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 rosinand 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, pow- dered 5 parts Quassia wood, pow- dered 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, tak- ing out a suiBcient 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 4.22 INSECTICIDES 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 PARA- SITES: 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 sabadilia. This is prepared as follows: Sabadilia seed, 5 parts; alcohol, 5 parts; acetic acid, 9 parts; and water, 36 parts. Macerate for 3 days, express and filter. The direc- tions are: Moisten the scalp and hair thoroughly at bedtime, binding a cloth around the head, and let remain over- night. If there are any sore spots on the scalp, these should be well greased be- fore 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. — Sabadilia, powder. . 2 av. ounces Acetic acid i fluidounce Wood alcohol 2 fluidounces Water sufficient to make 16 fluid ounces. Mix the acetic acid with 14 fluidounces of water and boil the sabadilia 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 lo 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 J pound Water 1 gallon Ileat the solution of soap, add it boil- ing 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 recom- mended: 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 gal- lons of the product poured into a depres- sion 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 cafe au lait color is ob- tained, which may be preserved in- definitely. 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 ex- perienced 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 de- struction 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 solu- tion 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 INSECTICIDES the United States, is as follows: Pepper- mint 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 SO parts Lard 40 parts Stearine oil 40 parts For Non-Masticating Insects . — For protection against all non-masticating and many raandibulate 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, agitat- ing 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 emul- sion (see above) with 9 times its volume of water; in the case of most others, ex- cept lice, dilute with 14 volumes, and for the latter with 20 to 25 volumes. For the extermination of scale insects, resinous preparations are also em- ployed, which kill by covering them with an impervious coating. Such a wash may be made as.foUows: Rosin 3 J 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 Jose 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 direct- ly controlled in two ways: (1) By spray- ing the infested trees with some liquid insecticide, and (2) by subjecting them to the fumes of hydrocyanic acid gas, com- monly designated as "gassing." The latter method is claimed to be the most effective means known of destroying scale insects. In practice the method con- sists 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 con- tinue 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 fonr.ula published by the United States Department of Agricul- ture follows: Kerosene, 2 gallons; whale- oil soap, J pound; water, 1 gallon. The soap is dissolved in hot water, the kero- sene 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 insecti- cide 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 car- bolic acid. Afterw^irds mix the mass with 15,000 parts of water. (6) 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 f 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 mix- ture. The whole is burned for another half hour or an hour, and then diluted to 353 parts. The fluid is applied luke- warm 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 4S4< INSECT POWDERS 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 combi- nation of two or more of them. The Prussic acid and Paris green are dan- gerous poisons and require to be used with extreme care: Insect powder is used for all small in- sects 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 vola- tile. 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 irri- tating 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 de- ceive the observer as to numbers. They multiply very rapidly, too, it must be remembered, and vigorous work is re- quired to combat this increase. Where they can easily migrate from one house- holder's premises to those of another, as in city "flats," it requires constant vigi- lance to keep them down, and entire extermination is scarcely to be expected. The ordinary insect powder on the market is made from pyrethrum car- neum, pyrethrum roseum, and pyrethrum cineranse-folium. The first two are generally ground together and are com- mercially called Persian insect powder; while the third is commonly called Dalmatian insect powder. These pow- ders 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 some- times used. Pyrethrum belongs to the natural order compositse, 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 particu- larly eilective against the common or kitchen cockroach. Camphor is sometimes used, and the powdered dried root of acorus calamus, the sweet flag. A mix- ture of white lead with, four times its weight of chalk is also highly recom- mended. The fish-oil soaps used in a powdered form are made from various recipes, of which the following is a typi- cal example: Powdered rosin 2 pounds Caustic soda 8 ounces Pish 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 in- stance 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 Eowder 6 ounces av. ite hellebore, powdered 2 ounces av. INSECT POWERS— INSULATION 425 Beetle Powder. — Cocoa powder 4 ounces Starch 8 ounces Borax 37 ounces Mix thoroughly. Remedies Against Mosquitoes. — A rem- edy to keep off mosquitoes, etc., is com- posed 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 in- gredients 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 imprac- ticable, as in bureau drawers, camphor balls may be scattered about with satis- factory result. The following is also ef- fective : 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 gulphide. The carbon sulphide dis- solves the sulphur so as to cause a very fine division and to penetrate the fibers completely. Powder to Keep Moths Away. — • Cloves 2 ounceo 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 moist- ened with formalin passed through the binding and the covers where possible. In other cases the bottom edge of the binding should be moistened with forma- lin 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 nole is over the center of the basin. At night beetles and other in- sects, 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 Meth- ods. 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 cotton- seed 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 piaintain the temperatur6G MATCHES iiible here to give a full account of the dif- ferent 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 phos- phate (2 per cent of this salt with 1 or 1 J per cent of phosphoric acid), or in a solution of ammonium sulphate (2Jjper 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 parafEne 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 chlor- ate 2,000 parts . Lead binoxide.. . . 1,150 parts Red lead 2,500 parts Antimony trisul- phide. ,.;..... 1,250 parts Gum arable 670 parts ParafEne 250 parts Potassium bi- chromate 1,318 parts Directions: See No. II. II. — Potassium chlor- ate 2,000 parts Lead binoxide.. . . 2,150 parts Red lead ........ 2,500 parts Antimony trisul- phide 1,250 parts Gum arable 670 parts ParafEne 250 parts Rub the parafEne and antimony tri- sulphide together, and then add the other ingredients. Enough water is added to bring the mass to a proper con- sistency when heated. Conduct heating operations on a water bath. The sticks are first dipped in a solution of paraiEne in benzine and then are dried. For striking surfaces, mix red phosphorus, 9 parts; pulverized iron pyiites, 7 parts; pulverized glass, 3 parts; and gum ara- ble 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 arable or traga- canth 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 con- sists of Chlorate of potash. . . 6 parts Sulphide of antimony. 2 parts Gum li parts Powdered clay 1^ parts The inflammable compound consists of Chlorate of potash . 2 to 3 parts Amorphous phos- phorus 6 parts Gum 1 i parts Aniline l| 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 phosphor- us (pure) 10.0 parts ParafEne 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 matcnes. The different compositions for tip- ping the matches in use in different countries and factories all consist essen- tially of emulsions of phosphorus in a solution of glue or gum, with or without other matters for increasing the com- bustibility, 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 Carts, and heated by means of a water ath until it is quite fluid, and at a temperature of 200° to 212° F. The vessel is then removed from the fire, and phosphorus, li 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 MATCHES— MATRIX MASSES 467 |1 parts; powdered glass, 3 to 4 parts; and red lead, smalt, or other coloring m 484 OILS 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 mix- ture 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 Liipe 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 C hours in an auto- clave at a temperature of 500° to 575° F., and under a pressure of 4 to 6 atmos- pheres. 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 pow- dered sodium sulphite. Agitate strongly and add 100 parts, by weight, of hydro- chloric 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 espe- cially adapted for zinc painting, but will also answer for any paint: Mix 1 part binoxide of manoor and the mache is inclined to be umpy, lay the mass upon a smooth board, take a hammer and pound it hard to grind it up fine. If the papier mache 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 sur- face 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 mache made according to this formula has the following qualities: When tested by rubbing between the thumb and finger, it was sticky and cov- ered 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, anU can only be removed with a kniff. When spread in a layer as thin as writiag 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 un- sized 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 im- palpable powder. It is cut up into PAPER 503 pieces (about 5x3 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 writ- ing 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 tur- pentine, and hang the prepared sheet across the line to dry; repeat the opera- tion 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 or- dinary 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 de- serves to be better known by chemists and pharmacists. It shrinks somewhat in size and in weight, and gives, on burn- ing, a diminished ash. It yields no ni- trogen, nor does it in the slightest man- ner affect liquids. It remains perfectly pervious to liquids, its filtering properties being in no wise affected, which, it is needless to say, is verf different from the behavior of the same paper "parch- mented" by sulphuric acia. 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 useti direct, without any supports, and it thus pre- vents undue access of air. As to strength, it is increased upward of 10 times. A strip of ordinary white Swedish paper, i of an inch wide, will sustain a load of from J to I of a pound avoirdupois, ac- cording 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 re- spectively. 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 writ- ten 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 pref- erable. Graphite is frequently used tot 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 copy- ing paper which will produce at the same time a positive copy, which is not required to be reproduced, and a negative or re- versed 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 mani- folding side undermost. The manifolding composition is made by mixing S ounces of printers' ink with 40 of spirits of turpentine, and then mix- ing 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 PAPER acid and S ounces of gallic acid, are stirred in till a perfect mixture is ob- tained. 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 dif- ficult 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 com- pound 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 arable 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 ar- tificial 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 there- by 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 nitro- gen 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° P. II. — For paper, either printed or un- printed, bills of exchange, deeds, books, etc., the following solution is recom- mended: Ammonium sulphata, 8 parts; boracic acid, 3 parts; sodium borate, 1.7 parts; water, 10,000 parts. The so- lution 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 im- mersed in the solution, at a temperature ot 122° F., and spread out to dry, finally pressed to restore the luster. Hydrographic Paper. — This is paper which majr be written on with simple water or with some colorless liquid hav- ing 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 rubi>ed over the surface of the paper, and is then forced into its pores by powerful pressure, after whifch 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 arable, J part. Boil Qiem in water, and expose the paper washed with the liquid to (the fumes of) am- monia. PAPER 505 Lithograptuc 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 sec- ond 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 trans- ferred 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 writ- ing 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; theh 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 sur- face 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 be- tween cutting boards of the same size, is lightly pressed with its edge on the sur- face of the liquid pattern, and then with- drawn and dried. The covers may be marbled in the same way, only letting the liquid colors run over them. In mar- bling paper the sides of the paper are gent- ly 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 ap- plying 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 ren- dered 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 wnen it is dry, polish it to a high 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 oi magnesia have been admixed, or else it is dipped into this mixture, and dried for about 10 days in a temperature of 77° P. 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 imme- diately 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 PAPER Clate, and rub it well with a lump of eeswax. Used to form extempora- neous 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 sat- uration 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 dis- solving a little isinglass in boiling water, or by boiling some clean parchment cut- tings 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 impor- tant papers against the destructive in- fluences of the atmosphere, of water fungi, and light, but especially against the consequences of tne jprocess of molding, a process has been introduced under tne 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 pen- cil. Sometimes the purpose may also be leached 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 in- flammable, for wnich 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 tlian non-im- pregnated paper. For coating with and especially for dipping in zapon, a con- trivance which effects a convenient sus- pension and dripping off with collection of the excess is of advantage. The zapon "should be thinned accord- ing to the material to be treated. Fee- bly sized papers are coated with ordinary, i. e., undiluted zapon. For dipping pur- poses, 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, ^lass, porcelain, and metals which is insoluble in cold and hot water, and binds very firmly. Metallic sur- faces 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 ap- plied on pliable sheet metal, does not crack on bending. For the preparation of zapon the fol- lowing directions are given: Pour 20 parts of acetone over 2 parts of colorless celluloid waste — obtainable at the cellu- loid 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 be- low, 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 car efully cleaned, and all holes and PAPER— PARAFFINE 607 cracks are filled up with a mass which is prepared by saturating newspapers with a paste that is inade by mixing thoroughly 17f 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 mtper, leaving it to dry thor- oughly. 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^^ 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, past- ing, 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 ex- tensively used than the kind first men- tioned. The following solutions are recom- mended 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 Parafiine wax 8 ounces Melt together and while warni 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 ni- trate solution. This sensitizes the paper. Dry again. The paper is now ready for printing. This process should be car- ried 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 sof- tened 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 Ce- ments. 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 MACHE: 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 PARAFFlSfE— PASSE-PARTOUT FRAMING naphthol, particularly beta-naphthoj, to the material which is used for the manu- facture 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 parafiine and 2 parts of beta- naphthol at 175° to 195° F. The material can be colored ia the ordinary way. Removal of Dirt from Parafflne. — Fil- tration through felt will usually remove particles of foreign matter from paraf- flne. 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 parafiine fluid, if a large quantity is to be handled, a jacketed tunnel 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 flrst 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 per- fumes 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. PARK AITS: 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 Erint is framed with no mount being visi- le; but, unless the picture is of large size, it will usually be found more be- coming 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, pro- cure a piece of clear white picture glass — most amateur framers will have dis- covered that there is a variance in the quality of this — and a piece of stout card- board, both of exactly the same dimen- sions as the picture. Next jirepare 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 diffi- cult 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 sur- roundings — 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 col- ored 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 mount- ant, and with them bind tightly together the three thicknesses — print, glass, and cardboard — allowing the paper to pro- ject 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 bot- tom 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 pur- PASTES— PERFUMES 509 Eose of inserting little brass hangers, aving 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 in- stead, 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 Easse-partout frame, but there are num- erlesS 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 tne mount, while a more am- bitious 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 marfis, 1 part; triturated together. III. — Prepared putty powder, 1 ounce; powdered oxalic acid, J ounce; pow- dered 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 mois- tening it, or even breathing on it. Im- mediately 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, T9 CLEAN: See Cleaning Preparations and Meth- ods. PEGAMOID. Camphor, 100 parts; mastic, 100 parts; bleached shellac, 60 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 PRESERVA- TION: See Roots. PERCENTAGE SOLUTION. Multiply the percentage by 5 ; the prod- uct is the number of grains to be added to an ounce of water to make a solution of the desired percentage. This is cor- rect 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 9 ounces Orris root 1 ounce Sandalwood 4 drachms Tonka 2 drachms Musk 6 grains 510 PERFUMES 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; Und musk, J part. All is bruised finely and mixed. Violet Sachet. — Powdered orris root 500 parts Rice flour 250 parts Essence bouquet. . . 10 parts Spring flowers ex- tract 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: Powered orris root. . li ounces Extract jasmine .... 2 drachms Extract musk 1 drachm II. — A powder sometimes dispensed under this name is the salicylated pow- der 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 .... J ounce Rose Talc. — I. — Powdered talc 6 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 J ounce Extract jasmine J ounce Extract musk 1 drachm II.— Starch 6,000 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 lav- ender 18 parts Attar of rose 2 parts Ammonium car- bonate 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, 2i 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 fil- tering paper, whereupon they are pressed vigorously, which causes them not only to dry, but also to remain straight. They remain under strong pressure until com- pletely dry. Not all cardboard, however, can be subjected to this process, and in its choice one should consider the perfum- ing 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. PERFUMES 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 ai'e placed on which nets stretched on frames are laid. Cover these nets with tissue Eaper, and proceed as follows: On the ottom 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 re- ceives 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 preserits another advantage in that all sorts of residues may be em- ployed 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 SO parts Artificial musk .... 2 parts lonone 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 per- fumes green. Care must be taken to pro- cure an article freely soluble in the men- struum. 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 tinc- torial 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 sufiier but little change by long exposure to diffused light may fade perceptibly by short ex- posure 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 hydro- chloric acid; wash the precipitate thor- oughly 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 occasion- ally, pour pfl 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 pro- duced by using tincture of litmus or am- moniated cochineal coloring. The for- mer is made as follows; Litmus 2 J 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 em- ployed. The amount necessary to pro- duce 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 moutn wash, is poured into a wine- glassful 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 vola- tile 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 PERFUMES we will have before us 7 bouquets, of dif- ferent odor, according to the volatility of the oils contained in them. From these different bouquets the qualitative com- position 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 persever- ance even complicated mixtures can be analyzed and recognized in their dis- tinctiveness. Naturally the difficulty in recognizing each oil is increased in the case of oils whose volatility is approxi- mately 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 alsp 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 pre- paring a mixture according to the recipe resulting from the trial. Not pure oils, always alcoholic dilu- tions in a certain ratio should be used, in order not to disturb the task by a sur- plus 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 consid- ered 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 em- ployed 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 per- fume is quite as prominent and lasting as the old, while it is more pleasing. It contains the synthetic odors, with bal- sams or rosinous bodies as fixatives, and employs musk and civet only in the most sparing manner in some of the more sen- sitive 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 pun- gent 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 fee) 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 ex- treme 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 eavy and lingering foreign odors, will answer practically all the requirements. General Directions for Making Per- fumes. — It is absolutely essential for ob- taining the best results to see that all vessels are perfectly clean. Always em- ploy alcohol, 90 per cent, deodorized by PERFUMES 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 NHs, 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 pow- dered. Perfumes improve by storing. It is a good plan to tie over the mouth of the containing vessel some fairly thick por- ous 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 obvioilsly prevents loss by evapora- tion. Talc or kieselguhr (amorphous SiOi) 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 aro- matic vinegars. The operations involved in making per- fumes 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 solu- tion of the odorous principles of certain flowers obtained by enfluerage; that is, the flowers are placed in contact with pre- pared grease wnich absorbs the odorous matter, and this grease is in turn macer- ated 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 "ex- tract" while "chilled" by a freezing mix- ture. The extracts can be either pur- chased or made directly from the pomade (as the grease is called). To employ the latter method successfully some experi- ence may be necessary. The tinctures are made with 95 per cent deodorized alcohol, enough men- struum being added through the marc when filtering to bring the finished prep- aration to the measure of the menstruum originally taken. The glycerine is intended to act as a "fixing" agent — that is, to lessen the volatiuty of the perfumes. Tinctures for Perfumes. — o. 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 composi- tions. e. Peru balsam, 1 part in spirit, 96 per cent, 1 parts; shake vigorously. /. 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 composi- tions containing little oil. i. Chopped Tonka beans, 1 part; spirit, 96 per cent, 6 parts; for composi- tions containing much oil. j. Vanilla, 1 part; spirit, 60 per cent, 6 parts; for compositions containing little oil. Ic. Vanilla, 1 part; spirit, 96 per cent, 6 parts; for compositions containing much oil. I. 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 prop- erly 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. . . J drachm Tincture of orange peel 2 ounces Magnesium carbon- ate \ ounce Alcohol 4 pints Water 4 pints Triturate the oils with the magnesium carbonate, gradually adding the other ingredients previously mixed, and fil- ter. The tincture of orange peel is used chiefly as a coloring for the mixture. Oil of bay leaves as found in the mar- ket varies in quality. The most costly will presumably be found the best, and its use will not make the product ex- pensive. 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 alj used in a short time. 514. PERFUMES 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 pos- sible, 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, tossibly the reason for this lies in the fact that the latter always con- tains 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 am- bergris 5 parts Tincture of ben- zoin 5 parts Alcohol 1,000 parts II. — The foUovrfng 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 rose- mary 26,000 parts .11. — 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 fre- quent shaking. Next add about 40 parts of acetic acid and filter after a while. IV.— Alcohol, 90 per 6ent 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 Alco- hol. — I'his is used in all toilet prepara- tions 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 IJ fluidrachms Oil of cinnamon . . 2 j fluidrachms Oil of neroli | 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 mag- nesium 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 in- tended 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 re- mains 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 fil- tering paper. This may be taken as a general instruction: !• — Oil of lavender IJ ounces Oil of bergamot 4 drachms Essence ambergris. . 4 drachms Proof spirit 3 pints PERFUMES 615 II- — English oil of laven- der 1 oimce Oil of bergamot .... 1 J drachms Essence of musk (No. 2) J ounce Essence of amber- gris ^ ounce Proof spirit 2 pints III. — English oil of laven- der J ounce Oil of bergamot .... 2 drachms Essence of amber- gris 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 J ounces. Attar of rose 1 j drachms Oil of neroli j drachm Spirit of nitrous ether 21 ounces Triple rose water .. . 12 ounces Proof spirit 5 pints Allow to stand 5 weeks before filtering. LIQUID PERFUMES FOR THE HAND- KERCHIEF, 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 Cura9ao 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 IS 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 17 Alexandra Bouquet. — Oil of bergamot 3 J drachms Oil of rose geranium j drachm Oil of rose | 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 min- ims; rose extract, 4 fluidounces; jas- mine extract, 4 fluidounces; orange flower extract, 16 fluidounces; essence of vanilla, 1 fluidounce; essence of musk, 2 fluidounces; tincture of storax, 2 fluid- ounces. (The tincture of storax is pre- pared 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 tinc- ture loo parts Benzoin tincture ... 40 parts Bergamot oil 50 parts Storax tincture .... SO 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 (l to 4) 64 ounces Oil of bergamot J ounce Oil of cloves 1 drachm Oil of ylang-ylang J 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 IS minims Tonka beans 3 Cassie oil 5 minims Tincture orris rhi- zome' 1 fluidounce 516 PERFUMES Civet 1 grain Almond oil J minim Storax tincture ... 3 fluidrachms AIcohol,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. Leguminosse, sub- order Mimosese). It must not be con- founded with cassia otto, the essential oil obtained from CinnamomvMi cassia. Cashmere Nosegay. — I. — Essence of violet, from pomade 1 pint Essence of rose, from pomade 1§ pints Tincture of benzoin, (lto4)..... J pint Tincture of civet (1 to 64) i pint Tincture of Tonka (1 to 4) i pint Benzoic acid I ounce Oil of patchouli .... J ounce Oil of sandal \ ounce Rose water J 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 J 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 . . Bounces Oil of cloves 12 minims Frangipanni. — I. — Grain musk 10 grains Sandal otto 25 minims Rose otto 25 minims Orange flower otto (n e r o 1 i) 30 minims Vetivert otto .... 5 minims Powdered orris rhizome J 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 (IJtoS) 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 moder- ately on the water bath, and filter. II. — Bergamot oil 10 parts Orange peel oil 10 parts Cinnamon oil 2 parts Hose 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. PERFUMES 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 J 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 es- sence 800 parts Rose flower es- sence 800 parts Vanilla flower es- sence 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 J ounces Essence of tuberose . 2^ ounces Spirit of rose 21 ounces III. — Extract rose 200 parts Extract vanilla. . . . 200 parts Extract orange .... 800 parts Extract jasmine . . . 600 parts ■Extract musk tinc- ture 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 es- sence 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 Rosp extract 900 parts Musk extract 200 parts Orange extract. . . . 500 parts Clove oil 6 parts Bergamot oil 5 parts Rose geranium oil 15 parts MarSchal Niel Rose. — In the genus of roses, outside of the hundred-leaved or cabbage rose, the Marechal 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 pre- cious perfumes. In order to reprocfuce 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 bal- sam 150 parts Infusion genuine musk 1 40 parts Neroli oil 30 parts Clove oil 2 parts Infusion tube- reuse 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. J drachm Narcissus. — Caryophyllin 10 minims Extract of tuberose. . 16 ounces Extract of jasmine. . 4 ounces Oil of neroli 20 minims Oil of ylang-ylang . . 20 minims Oil of clove 5 minims Glycerine 30 minims 518 PERFUMES Almond Blossom. — Extract of heliotrope 30 parts Extract of orange flower 10 parts Extract of jasmine. . 10 parts Extract of rose 3 parts Oil of lemon 1 part Spirit of bitter al- mond, 10 per cent 6 parts Deodorized alcohol . 40 parts Artificial Violet. — lonone is an arti- ficial perfume which smells exactly like fresh violets, and is therefore an ex- tremely important product. Although before it was discovered compositions were known which gave fair imitations of the violet perfume, they were wanting in the characteristic tang which distin- guishes all violet preparations. lonone has even the curious property possessed by violets of losing its scent occasionally for a short time. It occasionally hap- pens that an observer, on taking the stopper out of a bottle of ionone, per- ceives no special odor, but a few seconds after the stopper has been put back in the bottle, tne whole room begins to smell of fresh violets. It seems to be a question of dilution. It is impossible, however, to make a usable extract by mere dilution of a 10 per cent solution of ionone. It is advisable to make these prepara- tions in somewhat large quantities, say 30 to 50 pounds at a time. This en- ables them to be stocked for some time, whereby they improve greatly. When all the ingredients are mixed, 10 days or a fortnight, with frequent shakings, should elapse before filtration. The filtered product must be kept in well- filled and well-corked bottles in a dry, dark, cool place, such as a well-ventilated cellar. After 5 or 6 weeks the prepara- tion is ready for use. Quadruple Extract. — gy weight Jasmine extract, 1st pomade 100 parts Rose extract, 1st pomade 100 parts Cassia extract, 1st pomade 200 parts Violet extract, 1st pomade. ....... 200 parts Oil of geranium, Spanish 2 parts Solution of vanil- lin, 10 per cent. . 10 parts Solution of orris, 10 per cent 100 parts Solution of io- none, 10 per cent 20 parts Infusion of musk . . 10 parts Infusion of orris from coarsely ground root 260 parts Triple Extract. — gy weight Cassia extract, 2d pomade 100 parts Violet extract, 2d pomade 300 parts Jasmine extract, 2d pomade 100 parts Rose extract, 2d foraade 100 parts of geranium, African 1 part lonone, 10 per cent 15 parts Solution of vanil- lin, 10 per cent. . S parts Infusion of orris from coarse ground root .... 270 parts Infusion of musk . . 10 parts Double Extract. — gy -^^eight Cassia extract, 2d pomade 100 parts Violet extract, 2d pomade 150 parts Jasmine extract, 2d pomade 100 parts Rose extract, 2d pomade 100 parts Oil of geranium, reunion 2 parts lonone, 10 per cent 10 parts Solution of vanil- lin, 10 per cent. . 10 parts Infusion of am- brette 20 parts Infusion of orris from coarse ground root 300 parts Spirit 210 parts White Rose. — Rose oil. 25 minims Rose geranium oil . . 20 minims Patchouli oil 6 minims lonone ', . 3 minims Jasmine oil (syn- thetic) 5 minims Alcohol 10 ounces Ylang-Ylang Perfume. — I- — Ylang-ylang oil 10 minims Neroli oil 5 minims Rose oil 5 minims Bergamotoil 3 minims Alcohol 10 ounces One grain of musk may be added. II. — Extract of cassie (2d) 96 ounces Extract of jasmine (2d) 24 ounces PERFUMES 619 Extract of rose 24 ounces Tincture of orris. ... 4 ounces Oil of ylang-ylang . . 6 drachms Glycerine 6 ounces TOILET WATERS. Toilet waters proper are perfumed liquids designed more especially as re- freshing applications to the person — accessories to the bath and to the opera- tions of the barber. They are used sparingly on the handkerchief also, but should not be of so persistent a char- acter as the "extracts ' commonly used for that purpose, as they would then be unsuitable as lotions. Ammonia Water. — Fill a 6-ounce ground glass stoppered bottle with a rather wide moutn with pieces of am- monium carbonate as large as a marble, then drop in the following essential oils: Oil of lavender 30 drops Oil of bergamot .... 30 drops Oil of rose 10 drops Oil of cinnamon. ... 10 drops Oil of clove 10 drops Finally fill the botlle with stronger water of ammonia, put in the stopper and let stand overnight. Birch-Bud Water. — Alcohol (90 per cent), 350 parts; water, 70 parts; soft soap, 20 parts; glycerine, 15 parts; essen- tial oil of birch buds, 5 parts; essence of spring flowers, 10 parts; chlorophyll, quantity sufficient to lint. Mix the water with an equal volume of spirit and dissolve the soap in the mixture. Mix the oil and other ingredients with the remainder of the spirit, add the soap solution gradually, agitate well, allow to stand for 8 days and filter. For use, dilute with an equal volume of water, Carmelite Balm Water.— Melissa oil 30 minims Sweet marjoram oil 3 minims Cinnamon oil ... . 10 minims , Angelica oil 3 minims Citron oil 30 minims Clove oil 15 minims Coriander oil ... . 5 minims Nutmeg oil 5 minims Alcohol (90 per cent) 10 fluidounces Angelica oil is obtained principally from the aromatic root of Angelica arckungelica. L. (N. O. Umbelliferee), which is commonly cultivated for the sake of the volatile oil which it yields. Cypress Water. — Essence of ambergris J ounce Spirits of wine 1 gallon Water 2 quarts Distill a gallon. Eau de Botot. — Aniseed 80 parts Clover 20 parts Cinnamon cassia . . 20 parts Cochineal 5 parts Refined spirit 800 parts Rose water 200 parts Digest for 8 days and add Tincture of amber- gris 1 part Peppermint oil. . . . 10 parts Eau de Lais. — Eau de cologne 1 part Jasmine extract .... 0.5 parts Lemon essence 0.5 parts Balm water 0.5 parts Vetiver essence 0.5 parts Triple rose water . .. 0.5 parts Eau de Merveilleuse. — Alcohol 3 quarts Orange flower water 4 quarts Peru balsam 2 ounces Clove oil 4 ounces Civet IJ ounces Rose geranium oil . . J ounce Rose oil 4 drachms Neroli oil 4 drachms Edelv'ciss. — Bergamot oil 10 grams Tincture of am- bergris 2 grams Tincture of veti- ver (1 in 10).. . . 25 grams Heliotropin 5 grams Rose oil spirit (1 in 100) 25 grams Tincture of musk. 5 drops Tincture of angel- ica 12 drops Neroli oil, artifi- cial 10 drops Hyacinth, artifi- cial 15 drops .Tasmine, artificial. 1 gram Spirit of wiiiC, 80 per cent 1,000 grams Honey Water. — 1. — Best honey 1 pound Coriander seed 1 pound Cloves 1 ^ ounces Nutmegs 1 ounce Gum benjamin 1 ounce Vanilloe.5, No. 4. . . . 1 drachm The yellow rind of 3 large lemons. 520 PERFUMES Bruise the cloves, nutmegs, coriander seed, and benjamin, cut the vanilloes in pieces, and put all into a glass alembic with 1 gallon of clean rectified spirit, and, after digesting 48 hours, draw off the spirit by distillation. To 1 gallon of the distilled spirit add Damask rose water. IJ pounds Orange flower water Impounds Musk 5 grains Ambergris 5 grains Grind the musk and ambergris in a glass mortar, and afterwards put all to- gether into a digesting vessel, and let them circulate 3 days and 3 nights in a fentle heat; then let all cool. Filter, and eep the water in bottles well stoppered. II. — Oil of cloves 2 J drachms Oil of bergamot .... 10 drachms English oil of laven- der 2 J drachms Musk 4 grains Yellow sandalwood. 2i drachms Rectified spirit 32 ounces Rose water 8 ounces Orange flower water 8 ounces English honey 2 ounces Macerate the musk and sandalwood in the spirit 7 davs, filter, dissolve the oils in the filtrate, add the other ingredients, shake well, and do so occasionally, keep- ing as long as possible before filtering. Lilac Water. — Terpineol 2 drachms Heliotropin 8 grains Bergamot oil 1 drachm Neroli oil 8 minims Alcohol 12 ounces Water 4 ounces Orange Flower Water. — Orange flower es- sence 8 ounces Magnesium carbon- ate 1 ounce Water 8 pints Triturate the essence with the mag- nesium carbonate, add the water, and filter. To Clarify Turbid Orange Flower Water. — Shake 1 quart of it with J pound of sand which has previously been boiled out with hydrochloric acid, washed with water, and dried at red heat. This process doubtless would prove valuable for many other purposes. Violet Waters. — I. — Spirit of ionone, 10 per cent | drachm Distilled water 5 ounces Orange flower water 1 ounce Rose water 1 ounce Cologne spirit 8 ounces Add the spirit of ionone to the alcohol and then add the waters. Let stand and filter. II. — Violet extract 2 ounces Cassie extract 1 ounce Spirit of rose J ounce Tincture of orris .... i ounce Green coloring, a sufficiency. Alcohol to 20 ounces. PERFUMED PASTILLES, These scent tablets consist of a com- pressed mixture of rice starch, mag- nesium carbonate, and powdered orris root, saturated with heliotrope, violet, or lilac perfume. Violet. — Ionone 50 parts Ylang-ylang oil 50 parts Tincture of musk, extra strong 200 parts Tincture of benzoin . 200 parts Heliotrope. — Heliotropin 200 parts Vanillin 50 parts Tincture of musk. . . 100 parts Tincture of benzoin . 200 parts Lilac. — Terpineol 200 parts Muguet 200 parts Tincture of musk. . .200 parts Tincture of benzoin . 200 parts Sandalwood 2 drachms Vetivert 2 drachms Lavender flowers ... 4 drachms Oil of thyme J drachm Charcoal 2 ounces Potassium nitrate. . . J ounce Mucilage of tragacanth, a sufficient quantity. Perfumes for Hair Oils. — I- — Heliotropin 8 grains Coumarin 1 grain Oil of orris 1 drop Oil of rose 15 minims Oil of bergamot .... 30 minims II. — Coumarin 2 grains Oil of cloves 4 drops Oil of cassia 4 drops Oil of lavender flow- ers 15 minims Oil of lemon 45 minims Oil of bergamot .... 75 minims Soap Perfumes. — See also Soap. I- — Oil of lavender J ounce Oil of cassia 30 minims Add 5 pounds of soap stock. PETROLEUM 521 II- — Oil of caraway. ... Oil of clove Oil of white thyme . . 1 J drachms Oil of cassia > of Oil of orange leaf each (neroli petit grain) Oil of lavender Add to 5 pounds of soap stock. PERFUMES (FUMIGANTS): See Fumigants. PERSPIRATipN REMEDY: See Cosmetics. Petroleum (See also Oils.) The Preparation of Emulsions of Crude Petroleum. — Kerosene has long been recognized as a most efficient insec- ticide, but its irritating action, as well as the very considerable cost involved, has prevented the use of the pure oil as a local application in the various parasitic skin diseases of animals. In order to overcome these objections various expedients have been resorted to, all of which have for their object the dilu- tion or emulsification of the kerosene. Probably the best known and most gen- erally employed method for accomplish- ing this result is that which is based upon the use of soap as an emulsifying agent. The formula which is used almost uni- versally for making the kerosene soap emulsion is as follows: Kerosene 2 gallons Water 1 gallon Hard soap i pound The soap is dissolved in the water with the aid of heat, and while this solution is still hot the kerosene is added and the whole agitated vigorously. The smooth white mixture which is obtained in this way is diluted before use with sufficient water to make a total volume of 20 gallons, and is usually applied to the skin of animals or to trees or other plants by means of a spray pump. This method of applica- tion is used because the diluted emulsion separates quite rapidly, and some me- chanical device, such as a self-mixing spray pump, is required to keep the oil in suspension. It will be readily understood that this emulsion would not be well adapted either for use as a dip or for application by hand, for in the one case the oil, which rapidly rises to the surface, would adhere to ^he animals when they emerged from the dipping tank and the irritating effect would be scarcely less than that produced by the plain oil, and in the second case the same separation of the kerosene would take place and neces.ia- rily result in an uneven distribution of the oil on the bodies of the animals which were being treated. Within recent years it has been found that a certain crude petroleum from the Beaumont oil fields is quite effective for destroying the Texas fever cattle ticks. This crude petroleum contains from 40 to 50 per cent of oils boiling below 300° C. (572° F.), and from 1 to 1.5 per cent of sulphur. After a number of trials of different combinations of crude oil, soap, and water, the following for- mula was decided upon as the one best suited to the uses in view: Crude petroleum 2 gallons Water J gallon Hard soap | pound Dissolve the soap in the water with the aid of heat; to this solution add the crude petroleum, mix with a spray pump or shake vigorously, and dilute with the desired amount of water. Soft water should, of course, be used. Various forms of hard and soft soaps have been tried, but soap with an amount of free alkali equivalent to 0.9 per cent of sodium hydroxide gives the best emulsion. All the ordinary laundry soaps are quite sat- isfactory, but toilet soaps in the main are not suitable. An emulsion of crude petroleum made according to this modified formula re- mains fluid and can be easily poured; it will stand indefinitely without any ten- dency toward a separation of the oil and water and can be diluted in any propor- tion with cold soft water. After suffi- cient dilution to produce a 10 per cent emulsion, a number of hours are re- quired for all the oil to rise to the surface, but if the mixture is agitated occasionally, no separation takes place. After long standing the oil separates in the form of a creamlike layer which is easily mixed with the water again by stirring. It is therefore evident that for producing an emulsion which will hold the oil in suspension after dilution, the modified formula meets the desired re- quirements. In preparing this emulsion for use in the field, a large spray pump capable of mixing 25 gsillons may be used with perfect success. In using the formula herewith given, it should be borne in mind that it is recommended especially for the crijde 522 PETROLEUM— PICTURES petroleum obtained from the Beaumont oil fields, the composition of which has already been given. As crude petroleums from different sources vary greatly in their composition, it is impracticable to give a formula that can be used with all crude oils. Nevertheless, crude petroleum from other sources than the Beaumont wells may be emulsified by modifying the formula given above. In order to determine what modification of this formula is necessary for the emulsifica- tion of a given oil, the following method may be used: Dissolve J pound of soap in J gallon of hot water; to 1 measure of this soap solution add. 4 measures of the crude petroleum to be tested and shake well 111 a stoppered bottle or flask for several miautes. If, after dilution, there is a separation of a layer of pure oil within half an hour the emulsion is imperfect, and u, modifi- cation of the formula will be required. To accomplish this the proportion of oil should be varied until a good result is obtained. Petroleum for Spinning. — In order to be able to wash out the petroleum or render it "saponifiable," the following process is recommended: Heat the min- eral oil with 5 to 10 per cent of olein, add the proper amount of alcoholic lye and continue heating until the solvent (water alcohol) evaporates. A prac- tical way is to introduce an aqueous lye at 230° F. in small portions and to heat until the froth disappears. For clearness it is necessary merely to evaporate all the water. In the same manner, more olein may be added as desired if the admixture of lye is kept down so that not too much soap is formed or the petroleum be- comes too thick. After cooling, a uni- form gelatinous mass results. This is liquefied mechanically, during or after the cooling, hy passing it through fine sieves. Soap is so finely and intimately distributed in the petroleum that the fin- est particles of oil are isolated by soap, as it were. When a quantity of oil is intimately stirred into the water an emulsion results so that the different parts cannot be distinguished. The same process takes place in washing, the soap contained in the oil swelling be- tween the fibers and the oil particles upon mixture with water, isolating the oil and lifting it from the fiber. Deodorized Petroleum. — Petroleum may be deodorized by shaking it first with 100 parts of chlorinated lime for every 4,500 parts, adding a little hydro- chloric acid, then transferring the liquid to a vessel containing lime, and again shaking until all the chlorine is removed. After standing, the petroleum is de- canted. Petroleum Briquettes. — Mix with 1,000 parts of petroleum oil 150 parts of ground soap, 150 parts of rosin, and 300 parts of caustic soda lye.' Heat this mixture while stirring. When solidifi- cation commences, which will be in about 40 minutes, the operation must be watched. If the mixture tends to over- flow, pour into the receiver a few drops of soda, and continue to stir until the solidification is complete. When the operation is ended, flow the matter into molds for making the briquettes, and place them for 10 or 15 minutes in a stove; then they may be allowed to cool. The briquettes can be employed a few hours after they are made. To the three elements constituting the mixture it is useful to add per 1,000 parts bj; weight of the briquettes to be ob- tained, 120 parts of sawdust and 120 parts of clay or sand, to render the briquettes more solid. Experiments in the heating of these briquettes have demonstrated that they will furnish three times as much heat as briquettes of ordinary charcoal, without leaving any residue. PETROLEUM EMULSION: See Insecticides. PETROLEUM JELLIES: See Lubricants. PETROLEUM SOAP: See Soap. PEWTER: See Alloys. PEWTER, TO CLEAN: See Cleaning Preparations and Meth- ods. PEWTER, AGEING: If it is desired to impart to modern ar- ticles of pewter the appearance of an- tique objects, plunge the pieces for several moments into a solution of alum to which several drops of hydrochloric or sulphuric acid have been added. PICTURES, GLOW. These can be easily produced by draw- ing the outlines of a picture, writing, etc., on a piece of white paper with a S(3'ution of 40 parts of saltpeter and 20 parts of gum arable in 40 parts of warm water using a writing pen for this purpose. All the lines must connect and one of tliera PHOSPHATE SUBSTITUTE— PHOTOGRAPHY 523 must run to the edge of the paper, where it should be marked with a fine lead- Eencil line. When a burning match is eld to this spot, the line immediately glows on, spreading over the whole de- sign, and the design formerly invisible finally appears entirely singed. This little trick is not dangerous. PHOSPHATE SUBSTITUTE. An artific'ial phosphate is thus pre- pared: Melt in an oven a mixture of 100 parts of phosphorite, ground coarsely, 70 parts of acid sulphate of soda; 20 parts of carbonate of lime; 22 parts of sand, and 607 parts of charcoal. Run the molten matter into a receiver filled with water; on cooling it will become granular. Rake out the granular mass from the water, and after drying, grind to a fine powder. The phosphate can be kept for a long time without losing its quality, for it is neither caustic nor hygroscopic.* Wag- ner has, in collaboration with DorscE, conducted fertilizing experiments for determining its value, as compared with superphospnate or with Thomas slag. The phosphate decomposes more rapidly in the soil than Thomas slag, and so far as the experiments have gone, it appears that the phosphoric acid of the new phos- phate exercises almost as rapid an action as the phosphoric acid of the superphos- phate soluble in water. PHOSPHORESCENT MASS. See also Luminous Bodies and Paints. Mix 2 parts of dehydrated sodium carbonate, 0.5 parts of sodium chloride, and 0.2 parts of manganic sulphate with 100 parts of strontium carbonate and 30 parts of sulphur and heat 3 hours to a white heat with exclusion of air. PHOSPHOR BRONZE: See Alloys, under Bronzes. PHOSPHORUS SUBSTITUTE. G. Graveri recommends persul fo- cyanic acid-Hi(CN)aSs as meeting all the requirements of phosphorus on matches. It resists shock and friction, it is readily friable, and will mix with other substances; moreover, it is non- poisonous and cheaper than phosphorus. Photography DEVELOPERS AND DEVELOPING OF PLATES. No light is perfectly safe or non-actinic, even that coming through a combined ruby and orange window or lamp. Therefore use great care in developing. A light may be tested this way: Place a dry plate in the plate holder in total darkness, draw the slide sufBciently to expose one-half of the plate, and allow the light from the window or lamp, 12 to 18 inches distant, to fall on this exposed half for 3 or 4 minutes. Then develop the plate the usual length of time in total darkness. If the light is safe, there wiii be no darkening of the exposed part. If not safe, the remedy is obvious. The developing room must be a per- fectly dark room, save for the light from a ruby- or orange-colored window (or combination of these two colors). Have plenty of pure running water and good ventilation. Plates should always be kept in a dry room. The dark room is seldom a safe place for storage, because it is apt to be damp. Various developing agents givp differ- ent results. Pyrogallic acid in combi- nation with carbonate of sodium or carbonate of potassium gives strong, vigorous negatives. Eikonogen and metol yield soft, delicate negatives. Hydro- chinon added to eikonogen or metol produces more contrast or greater strength. It IS essential to have a bottle of bro- mide of potassium solution, 10 per cent, in the dark room. (One ounce of bromide of potassium, water to 10 ounces.) Over- timed plates may be much improved by adding a few drops of bromide solu- tion to the developer as soon as the overtimed condition is apparent (a plale is overtimed when the image appears almost immediately, and then blackens all over). Undertimed plates should be taken out of the developer and placed in a tray of water where no light can reach them. If the detail in the shadows begins to ap- pear after half an hour or so, the plate can be replaced in the developer and de- velopment brought to a finish. Quick development, with strong solu- tions, means a lack of gradation or half- tones. A developer too warm or containing too much alkali (carbonate of sodium or potassium) will yield flat, foggy nega- tives. A developer too cold is retarded in its action, and causes thin negatives. Uniform temperature is necessary for uniform results. If development is continued too long, the negative will be too dense. In warm weather, the developer should be diluted; in cold weather, it should be stronger. 5M PHOTOGRAPHY The negative should not be exposed to white light until fixation is complete. The negative 'should be left fully 5 minutes longer in the fixing bath than is necessary to dissolve out tne white bro- mide of silver. In hot weather a chrome alum fixing bath should be used to prevent frilling. Always use a fresh hypo or fixing bath. Hypo is cheap. Plates and plate holders must be kept free from dust, or pinholes will result. After the negative is fixed, an hour's washing is none too much. The plate should be dried quickly in warm weather else the film will become dense and coarse-grained. Do not expect clean, faultless negatives to come out of dirty developing and fix- ing solutions and trays. Pjrro and Soda Developer. — I. — Pure water 30 ounces Sulphite soda, crys- tals 5 ounces Carbonate soda, crystals 2J ounces II. — Pure water 24 ounces Oxalic acid 15 grains Pyrogallic acid 1 ounce To develop, take of Solution No. 1 1 ounce Solution No. II J ounce Pure water 3 ounces More water may be used in warm weather and less in cool weather. If solution No. I is made by hydrom- eter test, use equal parts of the follow- ing: Sulphite soda testing, 80°. Carbonate soda testing, 40°. One ounce of this mixture will be equiv- alent to 1 ounce of solution No. I. Pyro and Potassium Developer. — I. — Pure water 32 ounces Sulphite soda, crys- tals 8 ounces Carbonate p o t a s - slum, dry 1 ounce II. — Pure water 24 ounces Oxalic acid 15 ounces Pyrogallic acid 1 ounce To develop, take of ^ Solution No. 1 1 ounce Solution No. II Jounce Pure water 3 ounces When the plate is fully developed, if the lights are too thin, use less water in the developer; if too dense, use more water. Pyro and Metol Developer. — Good for short exposures: I. — Pure water 57 ounces Sulphite soda, crys- tals 2i ounces Metol 1 ounce II. — Pure water 57 ounces Sulphite soda, crys- tals 2 J ounces Pyrogallic acid i ounce III. — Pure water 57 ounces Carbonate potas- sium 2 J ounces To develop, take of Pure water 3 ounces Solution No. 1 1 ounce Solution No. II 1 ounce Solution No. III. ... 1 ounce This developer may be used repeat- edly by adding a little fresh developer as required. Keep the used developer in a separate bottle. Rodinal Developer. — One part rodinal to 30 parts pure water. Use repeatedly, adding fresh as re- quired. Bromo -Hydro chinon Developer. — For producing great contrast and intensity, also for developing over-exposed plates. I. — Distilled or ice water 25 ounces Sulphite of soda, crys- tals 3 ounces Hydrochinon J ounce Bromide of potas- sium J ounce Dissolve by warming, and let cool be- fore use. II. — Water 25 ounces Carbonate of soda, crystals 6 ounces Mix Nos. I and II, equal parts, for use. Eikonogen Hydrochinon Developer. — I. — Distilled or pure well water 32 ounces Sodium sulphite, crystals 4 ounces Eikonogen 240 grains Hydrochinon 60 grains n. — Water 32 ounces Carbonate of potash 4 ounces To develop, take No. 1 2 ounces No. II 1 ounce *Water 1 ounce *For double-ooated plates use 5 ounces of water. PHOTOGRAPHY 625 By hydrometer: I. — S odium sulphite. solution to test 30 34 ounces Eikonogen 240 grains Hydrochinon 60 grains II. — Carbonate of pot- ash solution to test 50 To develop, take No. I 2 ounces No. II 1 ounce *Water 1 ounce Hydrochinon Developer. — I. — Hydrochinon 1 ounce Sulphite of soda, crystals 5 ounces Bromide of potas- sium 10 grains Water (ice or dis- tilled) 55 ounces II. — Caustic potash 180 grains Water 10 ounces To develop: Take of I, 4 ounces; II, J ounce. Af- ter use pour into a separate bottle. This can be used repeatedly, and with uni- formity of results, by the addition of 1. drachm of I and 10 drops of II to every 8 ounces of old developer. In using this developer it is important to notice the temperature of the room, as a slight variation in this respect causes a very marked difference in the time it ' takes to develop, much more so than with pyro. The temperature of room should be from 70° to 75° F. Metol Developer. — I. — Water 8 ounces Metol 100 grains Sulphite of soda, crystals 1 ounce II. — Water 10 ounces Potassium carbonate 1 ounce Take equal parts of I' and II and 6 parts of water. If more contrast is needed, take equal parts of I and II and 3 parts of water, with 5 drops to the ounce of a iV solution of bromide of potassium. Metol and Hydrochinon Developer. — I. — Pure hot water 80 ounces Metol... 1 ounce Hydrochinon J ounce Sulphite soda, crys- tals 6 ounces ♦For double-coated plates use 5 ounces of water. II. — Pure water 80 ounces Carbonate soda, crystals 5 ounces To develop, take of Pure water 2 ounces Solution No. 1 1 ounce Solution No. II 1 ounce Metol-Bicarbonate Developer. — Thor- oughly dissolve Metol 1 ounce In water 60 ounces Then add Sulphite of soda, crystals 6 ounces Bicarbonate of soda. 3 ounces To prepare with hydrometer, mix Sulphite of soda so- lution, testing 75.. 30 ounces Bicarbonate of soda solution, testing 50 30 ounces Metol 1 ounce Dissolved in 12 ounces water. Ferrous-Oxalate Developer. — For transparencies and opals. I. — Oxalate of potash. . . 8 ounces Water 30 ounces Citric acid 60 grains Citrate of ammonia solution 2 ounces II. — Sulphate of iron .... 4 ounces Water 32 ounces Sulphuric acid 16 drops III. — Citrate of ammonia solution saturated. Dissolve 1 ounce citric acid in 5 ounces distilled water, add liquor ammonia un- til a slip of litmus paper just loses the red color, then add water to make the whole measure 8 ounces. Add 1 ounce of II to 2 of I, and i ounce of water, and 3 to 6 drops of 10 per cent solution bromide potassium. To develop, first rinse developing dish with water, lay film or plate down, and flow with sufficient developer to well cover. Careful attention must be given to its action, and when detail is just showing in the face, or half-tone lights in a view, pour off developer, and well wash the film before placing in the fixing bath. Tolidol Developer. — Standard formula for dry plates and films: Water 16 ounces Tolidol 24 grains Sodium sul- phite 72 (144) grains Sodium car- bonate 96 (240) grains The figures in parenthesis are for crys- tals. It will be seen that in every case PHOTOGRAPHY the weight of sulphite required in crys- tals is double that of dry sulphite, while the weight of carbonate crystals is 2 J times as much as dry carbonate. For tank development Dr. John M. Nicol recommends the standard formula diluted with 6 times the amount of water, and the addition of 1 drop of retarder to every ounce after dilution. To obtain very strong negatives: Water 16 ounces Tolidol 50 to 65 grains Sodium sul- phite 80 (160) grains Sodium car- bonate 120 (300) grains On some brands of plates the addition of a little retarder will be necessary. If stock solutions are preferred, they may be made as follows: Solution A Water 32 ounces Tolidol 1 ounce Sodium sulphite. . 1 (2) ounce Solution B Water 32 ounces Sodium sulphite. . 2 (4) ounces Solution C Water 32 ounces Sodium carbonate 4 (10) ounces If preferred, stock solutions B and C can be made by hydrometer, instead of by weight as above. The solutions will then show: , " Solution B Sodium sulphite. ... 40 Solution O Sodium carbonate . . 75 Or if potassium carbonate is preferred instead of sodium: Solution C Potassium carbonate 60 For standard formula for dry plates and films, mix Solution A 1 part Solution B 1 part Solution C 1 part Water 7 parts For strong negatives (for aristo-pla- tino): Solution A 1 J to 2 parts Solution B 1 part Solution C 1 part Water'. 4 to 4} parts For tank development: Solution A 1 part Solution B 1 part Solution C ] part Water 35 parts For developing paper: Solution A 2 parts Solution i? 2 parts Solution C 1 part The reading of the hydrometer for stock solutions is the same whether dried chemicals or crystals are used. No water is used. Pyrocatechin-Phosphate Developer. — Solution A Crystallized sulphite of soda 386 grains Pyrocatechin 77 grains Water 8 ounces Solution B Ordinary crystal phosphate of so- dium 725 grains Caustic soda (puri- fied in sticks). ... 77 grains Water 8 ounces Mix 1 part of A with 1 part of B and from 1 to 3 parts of water. If the ex- posure is not absolutely normal we' recommend to add to the above develop- er a, few drops of a solution of bromide of potassium (1.10). Pyrocatechin Developer (One Solu- tion). — Dissolve in the following range: Sulphite of soda crys- tallized 25 J drachms Caustic soda (puri- fied in sticks) .... 31 drachms Distilled water 14 ounces Pyrocatechin 308 grains The pyrocatechin must not be added until the sulphite and caustic soda are entirely dissolved. For use the con- centrated developer is to be diluted with from 10 to 20 times as much water. The normal proportion is 1 part of developer in 15 parts of water. Vogel's Pyrocatechin Combined De- veloper and Fixing Solution. — Sulphite ' of soda crystallized 468 grains Water 2§ ounces Caustic potash (purified in sticks) 108 grains Pyrocatechin 108 grains Mix for a formally fixing plate of 5x7 inches. Developer 3 drachms Fixing soda solution (1'^) Si drachms Water i' ounce The process of developing and fixing with this solution is accomolished in a PHOTOGRAPHY 627 few minutes. The picture first appears usually, strengthens very c(uiokly, and shortly after the fixing is entirely done. Ellon's Pjrrocatechin Developer. — Pyrocatechin, 2 per cent solution (2 grams pyrocatechin in 100 cubic centi- meters of water). Carbonate of potassium, 10 per cent solution (10 grams carbonate in 100 cubic centimeters of water). For use take equal parts and add water as desired. Imperial Standard Pyro Developer. — I. — Metabisulphite of potassium 120 grains Pyrogallic acid. ... 55 grains Bromide of potas- sium 20 grains Metol 45 grains Water 20 ounces II. — Carbonate of soda. 4 ounces Water 20 ounces For use mix equal parts I and II. Bardwell's Pyro-Acetone Developer. — Water 4 ounces Sulphite of sodium (saturated s o 1 u - tion) 4 drachms Acetone 2 drachms Pyro 10 grams Hauff's Adurol Developer. — One so- lution. Water 10 ounces Sulphide of sodium, crystals 4 ounces Carbonate of potas- sium 3 ounces Adurol i ounce For studio work and snap shots take 1 part with 3 parts water. For time exposures out-door take 1 part with 5 parts water. Glycin Developer. — I. — Hot water 10 ounces Sulphite of sodium, crystals li ounces Carbonate of sodium j ounce Glycin J ounce Add to water in order given. II. — Water 10 ounces Carbonate of potash li ounces For normal exposure take I, 1 ounce; II, 2 ounces; water, 1 ounce. Imogen Developer. — I. — Hot water i7>\ 9 ounces Sulphite of sodium, crystals 385 grains Imogen 123 grains II. — Hot water 4 J ounces Carbonate of sodium 2 ounces For use take 2 ounces of I and 1 ounce of II. Diogen Developer. — Water 9 ounces Sulphite of sodium. . 3 J ounces Diogen 7 drachms Carbonate of potas- sium 4 J ounces For normal exposure take 4 drachms of this solution; dilute with 2 ounces, 1 drachm of water, and add 2 drops bromide of potassium, 10 per cent solution. Ortol Developer. — Formula by Pent- large. I. — Water 1 ounce Metabisulphite o f potassium 4 grains Ortol 8 grains II. — Water 1 ounce Sulphite of sodium. . 48 grains Carbonate of potas- sium 16 grains Carbonate of sodium 32 grains- For use take equal parts I and II, and an equal bulk of water. Metacarbol Developer. — Metacarbol 25 grains Sulphite of soda, crystals 100 grains Caustic soda 50 grains Water 10 ounces Dissolve the metacarbol in water, then add the sulphite, and when dissolved add the caustic soda and filter. DEVELOPING POWDERS. By weight I. — Pyrogallol 0.3 parts Sodium bisulphite . . 1.2 parts Sodium carbonate . . 1.2 parts II. — Eikonogen 1.1 parts Sodium sulphite. . . . 2.4 parts Potassium carbonate 1.5 parts III. — Hydroquinone 0.6 parts Sodium sulphite. . . . 3.4 parts Potassium bromide. 0.3 parts Sodium carbonate . . 7.0 parts These three formulas each yield one powder. The powders should be put up in oiled paper, and carefully inclosed, besides, in a wrapper of black paper. For use, one powder is dissolved in about 60 parts of distilled water. DEVELOPING PAPERS. Light. — -The paper can be safely hanmed 8 feet from the source of light, 528 PHOTOGRAPHY which may be Welsbach gas light, cov- ered with post-office paper, incandes- cent light, ordinary gas light, kerosene light, or reduced daylight, the latter pro- duced by covering a window with one or more thicknesses of orange post-office paper, as necessitated by strength of light. Expose by holding the printing frame close to gas, lamp, or incandescent light, or to subdued daylight. Artificial light is recommended in preference to day- light because of uniformity, and it being in consequence easier to judge the proper length of time to expose. Exposure. — The amount of exposure required varies with the strength of the light; it takes about the same time with an ordinary gas burner and an incandescent light; a Welsbach gas light requires only about one-half as much time as the ordi- nary gas burner, and a kerosene light of ordinary size about three times as much as an ordinary gas burner. If day- light is to be used the window should be covered with post-office paper, in which a sub-window about 1 foot square for making the exposure may be made. Cover this window first with a piece of white tissue paper, then with a piece of black cloth or post-office paper to ex- clude the white light when not wanted. Make exposure according to strength of light at from 1 to 2 feet away from the tissue paper. Keep the printing frame when artificial light is used constantly in motion during exposure. Timing the Exposure. — The time necessary for exposing is regulated by density of negative and strength of light. The further away the negative is from the source of light at the time of ex- posure the weaker the light; hence, in order to secure uniformity in exposure it is desirable always to make the exposure at a given distance from the light used. With a negative of medium density exposed 1 foot from an ordinary gas burner, from 1 to 10 minutes' exposure is required. A test to ascertain the length of ex- posure should be made. Once the proper amount of exposure is ascer- tained with a given light, the amount of exposure required can be easily approx- imated by making subsequent exposures at the same distance from the same light; the only difference that it would then be necessary to make would be to allow for variation in density of different negatives. Fixing. — Allow the prints to remain in the fixing solution 10 to 20 minutes, when they should be removed to a tray con- taining clear water. Washing. — Wash 1 hour in running water, or in 10 or 12 changes of clear water, allowing prints to soak 2 to 3 minutes in each change. Pyrocatechin Formula. — Solution A Pyrocatechin 2 parts Sulphite of soda, crystals 2.5 parts Water 100 parts Solution B Carbonate of soda . 10 parts Water 100 parts Before using mix 20 parts of Solution A, and i part of Solution B. Metol Quinol. — • Water 10 ounces Metol 7 grains Sodium sulphite, crystals, pure J ounce Hydroquinone 30 grains Sodium carbonate, dessicated 200 grains (or 400 grains of crystallized carbonate). Ten per cent bro- mide of potassium solution, about. . . 10 drops Amidol Formula. — Water 4 ounces Sodium sulphite, crystals, pure. . . . 200 grains Amidol, about 20 grains Ten per cent bro- mide of potas- sium solution, about 5 drops If the blacks are greenish, add more amidol; if whites are grayish, add more bromide of potassium. Hypo-Acid Fixing Bath. — Hypo 16 ounces Water 64 ounces Then add the following hardening solution: Water 5 ounces Sodium sulphite, crystals \ ounce Commercial acetic acid (containing 25 per cent pure acid) 3 ounces Powdered alum \ ounce Amidol Developer. — Amidol 2 grains Sodium sulphite. .. . 30 grains Potassium bromide . 1 grain Water 1 ounce PHOTOGRAPHY 529 With a fairly correct exposure this will be found to produce prints of a rich black tone, and of good quality. The whole secret of successful bromide firinting lies in correctness of exposure, t is generally taken for granted that any poor, flat negative is good enough to yield a bromide print, but this is not so. A negative of good printing quality on printing-out paper will also yield a good print on bromide paper, but considerable care and skill are necessary to obtain a good result from a poor negative. The above developer will not keep in solution, and should be freshly prepared as re- quired. The same formula will also be found useful for the development of lantern plates, but will only yield black- toned slides. PLATINUM PAPERS: General Instructions. — To secure the most brilliant results the sensitized paper, before, during, and after its exposure to light, must be kept as dry as possible. The paper is exposed to daylight, in the printing frame, for about one-third of the time necessary for ordinary silver paper. The print is then immersed in the developer for about 30 seconds, then cleared in 3 acid baths containing 1 part of muriatic acid C. P. to 60 parts of water, washed for a short time in running water, the whole operation of printing, clearing, and washing being complete in about half an hour. As a general rule all parts of the pic- ture except the highest lights should be visiblewnen the exposure is complete. When examining the prints in the printing frames, care should be taken not to expose them unduly to light; for the degradation of the whites of the paper due to slight action of light is not visible until after development. Ansco Platinum Paper. — Print until a trace of the detail desired is slightly visi- ble in the high lights. Development. — Best results are ob- tained with the temperature of the de- veloper from 60° to 80° F. Immerse the print in the developer with a quick sweeping motion to prevent air bells. Develop in artificial or weak daylight. The development of a print from a nor- mal negative will require 40 seconds, or more. Formula for Developer. — Water 50 ounces Neutral oxalate of potash 8 ounces Potassium p h o s - pbate (monobasic) 1 ounce Care must be used to obtain the mono- basic potassium phosphate. Immediately after prints are devel- oped, place them face down in the first acid bath, composed of Muriatic acid, C. P. 1 ounce Water 60 ounces After remaining in this bath for a pe- riod of about 5 minutes, transfer to the second acid bath of the same strength. The prints should pass through at least 3 and preferably 4 acid baths, to re- move all traces of iron that may re- main in the pores of the paper. When thoroughly cleared, the print should be washed from 10 to 20 minutes in running water. If running water is not available, several changes of water in the tray will be necessary. " Water Tone " Platinum Paper. — "Water tone" platinum paper is very easily affected by moisture; it will, there- fore, be noticed when printing in warm, damp weather that the print will show quite a tendency to print out black in the deep shadows. This must not be taken into consideration, as the same amount of exposure is necessary as in dry days. Print by direct light (sunlight pre- ferred) until the shadows are clearly out- lined in a deep canary color. At this stage the same detail will be observed in the half tones that the finished print will show. For developing, use plain water, heated to 120° F. (which will be as hot as they can bear). The development will be practically instantaneous, and care must be taken to avoid air bubbles forming upon the sur- face of the prints. Place prints, after developing, directly into a clearing bath of muriatic acid, 1 drachm to 12 ounces of water, and let them remain in this bath about 10 minutes, when they are •ready for the final washing of 15 minutes in running water, or 5 changes of about 3 minutes each. Lay out between blot- ters to dry, and mount by attaching the corners. Bradley Platinum Paper. — Developer. A. — For black tones : Neutral oxalate potas- sium 8 ounces Potassium phosphate. . 1 ounce Water -30 ounces B. — For sepia tones: Of above mixed solu- tion 8 ounces Saturated bichloride mercury solution . . 1 ounce Citrate soda 5 grains 630 PHOTOGRAPHY If deep red tones are desired add to B Nitrate uranium 10 grains Then filter and use as a developer. W. & C. Platinotype. — Development. — The whole contents of the box of the W. & C. developing salts must be dis- solved at one time, as the salts are mixed; and if this be not done, too large a pro- portion of one of the ingredients may be used. Development should be conducted in a feeble white light, similar to that used when cutting up the paper, or by gas light. It may take place immediately after the print is exposed, or at the end of the daVs printing. Develop by floating the print, exposed side downwards, on the developing solu- tion. Development may take 30 seconds or more. During the hot summer days it is not advisable to unduly delay the develop- ment of exposed prints. If possible develop within 1 hour after printing. Either porcelain or agate — preferably porcelain — dishes are necessary to hold the developing solution. To clear the developed prints: These f must be washed in a series of baths (not less than three) of a weak solution of muriatic acid C. P. This solution is made by mixing 1 part of acid in 60 parts of water. As soon as the print has been removed from the developing dish it must be im- mersed face downwards in the first bath of this acid, contained in a porcelain dish, in which it should remain about 5 minutes; meanwhile other prints follow until all are developed. The prints must then be removed to a second acid bath for about 10 minutes; afterwards to the third bath for about 15 minutes. While the prints remain in these acid baths they should be moved so that the solution has free access to their surfaces, but care should be taken not to abrade them by undue friction. Pure muriatic acid must be used. If commercial muriatic acid be used, the prints will be discolored and turn yellow. For each batch of prints fresh acid baths must be used. After the prints have passed through the acid baths they should be well washed in three changes of water during about a half hour. It is advisable to add a pinch of washing soda to the second washing water to neutralize any acid remainrng in the print. Do not use water that contains iron, as it tends to turn paper yellow. Soft water is the best for this purpose. W. & C. Sepia Paper. — With a few exceptions the method of carrying out the operations is the same as for the "black" kinds of platinotype paper. The following points should be attended to: The "sepia" paper is more easily affected by faint light, and, therefore, increased care must be taken when printing. To develop, add to each ounce of the developing solution IJ drachms of sepia solution supplied for this purpose, and proceed as described for black paper. The solution must be heated to a temperature of 150° to 160° P., to obtain the greatest amount of brilliance and the warmest color, but very good results can be obtained by using a cooler developer. Variations of the Sepia Developer. — Primarily the object of the sepia solution in the developer is to increase the brightness of the prints, as, for example, when the negative is thin and flat, or pense and flat, the addition of the sepia solution to the developer clears up, to some extent, the flatness of the print by taking out traces of the finer detail in the higher lights, which is often a decided improvement. If, however, the nega- tive be dense, with clear shadows, the sepia solution may be discarded ajto- gether. This will prevent the loss of any of the finer detail and greatly reduce harshness in the prints. Sometimes a half, or even a quarter, of the quantity of the sepia solution recommended as an addition to the developer will be suffi- cient, depending altogether upon tlie strength of the negatives. Prints de- veloped without the solution have less of the sepia quality but are very agreeable nevertneless. It should be remembered that the sepia paper is totally different from the black, and will develop sepia tones on a developer to which no sepia solution has been added. The sepia solution clears up and brightens the flat, muddy (to some extent, not totally) effects from the thinner class of nega- tives. The Glycerine Process. — The "glvc- erine process," or the process of de- veloping platinotype prints by applica- tion of the developing agent with the brush, is perhaps one of the most inter- esting and fascinating of photographic processes, owing to its far-reaching possibilities. PHOTOGRAPHY S31 bl By this method of devehjpine platino- type paper, many negatives which have been discarded on account of the dim, flat, non-contrasty results which they yield, in the hands of one possessing a little artistic skill, produce snappy, ani- mated pictures. On the other hand, from the sharp and hard negative, soft, sketchy effects maj^ be secured. There are required for this process: Some glass jars; some soft brushes, vary- ing from the fine spotter and the Japan- ese brush to the IJ-inch duster, and sev- eral pieces of special blotting paper. Manipulation. — Print the paper a trifle deeper than for the ordinary method of developing. Place the print face' up on a piece of clean glass (should the print curl so that it is unmanageable, moisten the glass with glycerine), and, with the broad camel's-hair brush, thinly coat the entire print with pure glycerine, blotting same off in 3 or 4 seconds; then recoat more thickly such portions as are desired especially restrained, or the details partly or entirely eliminated. Now brush or paint such portion of the print as is first desired with solution of 1 part lycerine and 4 parts normal developer, jlotting the portion being developed from time to time to avoid developing too far. Full strength developer (with- out glycerine) is employed where a pro- nounced or deep shade is wanted. When any part of the print has reached the full development desired, blot that portion carefully with the blotter and coat with pure glycerine. A brown effect may be obtained by using saturated solution of mercury in the developer (1 part mercury to 8 parts developer). By the use of diluted mer- cury the "flesh tones" are produced in portraits, etc. When print has reached complete development, place in hydrochloric (muriatic) acid and wash as usual. Eastman's Sepia Paper.— This paper is about 3 times as rapid as blue paper. It should be under rather than over printed, and is developed by washing in plain water. After 2 or 3 changes of water fix 6 minutes in a solution of hypo (IJ grains to the ounce of water), and afterwards wash thoroughly. Short fixing gives red tones. Longer fixing produces a brown tone. Development of Platinum Prints. — In the development of platinotype prints by the hot bath process, distinctly warmer tones are obtained by using a bath which has been several times heated, colder blacks resulting fron} the use of a freshly prepared solution, and colder tones still if the developing solution be faintly acidified. The repeated heating of the solution of the neutral salt ap- parentlj' has the effect of rendering the bath slightly alkaline by the conversion of a minute proportion of the oxalate into potassium carbonate. If this be the case, it allows a little latitude in choice of tone which may be useful. Some photofjraphers recommend the use of potassium phosphate with the neutral oxalate, stating that the solution should be rendered acid by the addition of a small proportion of oxalic acid. When the potassium phosphate was first recommended for this purpose, probably the acid salt, KHsP04, was intended, by the use of which cold steely black tones were obtained. The use of the oxalic acid with the ordinary phosphate KjHPOo is probably intended to produce the same result. THE CARBON PROCESS. The paper used is coated on one surface with a mixture of gelatin and some pigment (the color of which de- pends upon the color the required print is to be), and then allowed to dry. When required for printing it is sensitized by floating upon a solution of bichromate of potassium, and then again drying, in the dark this time. The process is based upon the action of light upon this film of chromatized gelatin; wherever the light reaches, the gelatin is rendered insol- uble, even in hot water. The paper is exposed in the usual way. But as the appearance of the paper be- fore and after printing is precisely the same, it is impossible to tell when it is printed by examining the print. This is usually accomplished by exposing a piece of gelatino-chloride paper under a negative of about the same density, and placing it alongside of the carbon print. When the gelatmo-chloride paper is printed, the carbon will be finished. The paper is then removed from the printing frame and immersed in cold water, which removes a great deal of the bi- chromate of potassium, and also makes the print lie out flat. It is then floated on to what is known as a support, and pressed firmly upon it, face down- wards, and allowed to remain for 5 or 10 minutes. Then the support, together with the print, is placed in hot water for a short time, and when the gelatin commences to ooze out at the edges the print is removed by stripping from the support, this process leaving the greater quantity of the gelatin and pigment 532 PHOTOGRAPHY upon the support. The gelatin and pigment are then treated with hot water by running the hot water over the face of the support by means of a sponge. This removes the soluble gelatin, and leaves the gelatin, together with the pigment it contains, which was acted upon by light; this then constitutes the picture. The reason for transferring the gela- tin film is quite apparent, since the greater portion of the unacted-upon gel- atin will be at the back of the film, and in order to get at it to remove it, it is necessary to transfer it to a support. In this condition the print can be dried and mounted, but on consideration it will be seen that the picture h in a reversed position, that is to say, that the right- hand side of the original has become the left, and vice versa. If the picture be finished in this con- dition, it is said to have been done by the single transfer method. In some in- stances this reversal would be of no con- sequence, such as some portraits, but with views which are known this would never do. In order to remedy this state of affairs, the picture is transferred once more, by pressing, while wet, upon an- other support, and allowed to dry upon it; when separated, the picture remains upon the latter support, and is in its right position. This is what is known as the double transfer method. When the double transfer method is used, the first support consists of a specially pre- pared support, which has been waxed in order to prevent the pictures from ad- hering permanently to it; this is then known as a temporary support. The paper upon whicn the print is finally received is prepared with a coating of gelatin, and is known as the final sup- port. LANTERN SLIDES. The making of a good slide begins with the making of the negative, the operations in both cases being closely allied, and he who has mastered the first, which is the corner stone to all successful results in any branch of photography, may well be expected to be able to make a good lantern slide. A slide is judged not by what it appears to be when held in the hand, but oy its appearance when magnified two to five thousand times on the screen, where a. small defect in the slide will show up as a gross fault. Patience and cleanliness are absolutely necessary. The greatest caution should be observed to keep the lantern plates free from dust, both before and after exposure and development, for small pin- holes and dust spots, hardly noticeable on the slide, assume huge proportions on the screen and detract materially from the slide's beauty. The high lights in a slide should, in rare cases only, be represented by clear glass, and the shadows should always be transparent, even in the deepest part. The balance between these extremes should be a delicate gradation of tone from one to the other. The contrast between the strongest high light and the deepest shadow should be enough to give brilliancy without hardness and delicacy or softness without being flat. This is. controlled also, to some extent, by the subject summer sunshine requiring a more vigorous rendering than hazy autumn eflects, and herein each indi- vidual must decide for himself what is most necessary to give the correct por- trayal of the subject. It is a good idea to procure a slide, as near technically perfect as possible, from some slide- making friend, or deaftr, to use it as a standard, and to make slide after slide from the same negative until a satis- factory result is reached. A black tone of good quality is usu- ally satisfactory for most slides, but it is very agreeable to see interspersed a va- riety of tone, and beautiful slides can be made, where the subject warrants, in blue, brown, purple, and even red and green, by varying the exposure and de- velopment and by using gold or uranium toning baths and other solutions for that purpose, the formulas and materials for which are easily obtainable from the magazines and from stock dealers, re- spectively. It must be understood, however, that these toning solutions generally act as intensifiers, and that if toning is contem- plated, it should be borne in mind at the time of developing the slide, so that it may not finally appear too dense. Ton- ing will improve otherwise weak slides, but will not help under-exposed ones, as its tendency will be in such case to in- crease the contrast, which in such slides is already too great. Another method of getting a fine quality of slides is to make rather strong exposures to over- develop, and then to reduce with persul- phate of ammonium. The popular methods of making the exposure are: First, by contact in the printing frame, just as prints are made on velox or other developing paper, pro- vided the subject on the negative is of the right size for a lantern slide; and the other and better method is the camera PHOTOGRAPHY method, by which the subject of any negative, large or small, or any part thereof, can be reduced or enlarged, and thus brought to the proper size de- sired for the slide. This is quite a knack, and should be considered and studied by the slide maker very care- fully. Hard and inflexible rules cannot be laid down in this relation. Portrait studies of bust or three-fourths figures or baby figures need not be made for a larger opening than IJ by 2 inches, and often appear to good advantage if made quite a bit smaller. Figure or group compositions, with considerable back- ground or accessories, may, of course, have a larger opening to suit the par- ticular circumstances. Monuments, tall buildings, and the like shoidd have the benefit of the whole height of mat open- ing of 2J inches, and should be made of a size to fill it out properly, providing, however, for suflicient foreground and a proper sky line. Landscapes and marine views generally can be made to fill out the full length of mat opening, which, however, should not exceed 2t inches, and may be of any height to suit the sub- ject, up to 2J inches. The subject should be well centered on the plate and the part intended to be shown as the picture should be well within the size of the mat opening de- cided upon, so that with a slight varia- tion of the placing of the mat no part of the picture will be cut off by the carrier in the stereopticon. The horizon line in a landscape, and more particularly in a marine view, should always be in proper J)osition, either below or above the center ine of the slide, as may suit the subject, but should never divide the picture in the middle and should not appear to be run- nine either up or down hill. And the ver- tical lines in the pictures should not be leaning, but should run parallel with the side lines of t|je mat; this refers espe- cially to the vertical lines in architecture, except, however, the Tower of Pisa and kindred subjects, which should in every case be shown with their natural inclina- tions. As to time of exposure, very little can be said. That varies with the different makes of plates, with the quality of the light, and the nature and density of each individual negative. Therefore every one must be a judge unto himself and make as good a guess as he can for the first trial from each negative and gauge further exposures horn the results thus obtained; but this much may be said, that a negative strong in contrast should be given a lone exposure, close to the light, if artificial fight is used, or in strong daylight, and developed with a weak or very much diluted developer to make a soft slide with full tone values. And a flat, weak negative will yield bet- ter results if exposed farther from the light or to a weaker light, and developed by a normal or more aggressive de- veloper. Over exposure and under ex- posure show the same results in slide plates as in negative plates, and the treat- ment should be similar in both kinds of plates except that, perhaps, in cases of under exposure of slide plates, the better plan would be to cast them aside and make them over, as very little can be done with them. For getting bright and clear effects it is now well understood that better and more satisfactory results are obtained by backing the slide plates as well as by backing negative plates. This is accomplished by coating the back or glass side of the plate with the follow- ing mixture: Gum arable ^ ounce Caramel 1 ounce Burnt sienna 2 ounces Alcohol 2 ounces Mix and apply with small sponge or wad of absorbent cotton. It should coat thin and smooth and dry hard enough so it will not rub off when handled. If the plates are put into a light-proof grooved box as fast as backed, they can be used about half an hour after being coated. Before devel- oping, this backing should be removed ; this is best done by first wetting the film side of, the plate under the tap, which will prevent staining it, and then letting the water run on the backing, and, with a little rubbing, it will disappear in a few moments, when development may proceed. Other preparations for this purpose, ready for use, may be found at the stock houses. The mat should be carefully selected or cut of a size and shape to show up the subject to best advantage, and should cover every- thing not wanted in the picture. The opening should not exceed 2f x 2| inches in any case, and must not be ragged or fuzzy, but clean cut and symmetrical. The lines of the opening of square mats should be parallel with the outside lines of the plate. Oval, or round, or other variously shaped mats, should be used sparingly, and in special cases only where the nature of the subject will war- rant their use. Statuary shows up to best advantage when the background is blocked out. 534 PHOTOGRAPHY This is easily done with a small camel's- hair artist's brush and opaque or iiidia ink, in a retouching frame, a good eye and a steadj^ hand being the only addi- tional requirements; This treatment may also be applied to some flower studies and other botanical subjects. Binding may be performed with the aid of a stationer's spring clamp, such as is used for holding papers together, and can be purchased for 10 cents. Cut the binding strips the length of the sides and ends of the slide, and gum them on separately, rubbing them firmly in con- tact with the glass with a piece of cloth or an old handkerchief, which might be kept handy for that purpose, so that the binding may not loosen or peel off after the slides are handled but half a dozen times. Before storing the slides away for future use they should be properly labeled and named. The name label should be affixed on the right end of the face of the slide as you look at it in its proper position, and should contain the maker's name and the title of the slide. The thumb label should be affixed to the lower left-hand corner of the face of the slide, and may show the number of the slide. HOW TO UTILIZE WASTE MA- TERIAL. Undoubtedly spoiled negatives form the greatest waste. The uses to which a ruined negative may be put are mani- fold. Cut down to 3J inches square and the films cleaned off, they make excellent cover glasses for lantern slides. An- other use for them in the same popular branch of photography is the following: If, during development, you see that your negative is spoiled through uneven density, over exposure, or what not, ex- pose it to the light and allow it to blacken all over. Now with sealing wax fasten a needle to a penholder, and by means of this little tool one can easily manufacture diagram slides from the darkened film (white lines on black ground). Take a spoiled negative, dissolve out all the silver with a solution of potassium ferricyanide and hypo. Rinse, dry, rub with sandpaper, and you will have a splendid substitute for ground glass. Remove the silver in a similar manner from another negative, but this time wash thoroughly. Squeegee down on this a print, and an opaline will be your reward. From such an opaline, by ce- menting on a few more glasses, a tasteful letter weight may soon be made. An- other way in which very thin negatives may be used is this: Bleach them in bichloride of mercury, back them with black paper, and positives will result. Old negatives also make good trimming boards, the film preventing a rapid blunt- ing of the knife, and they may be suc- cessfully used as mounting tables. Clean off the films, polish with. French chalk, and squeegee your prints thereto. When dry they may be removed and will have a fine enameled, if hardly artistic, appearance. Many other uses for them may also be found if the amateur is at all ingenious. Users of pyro, instead of throwing the old developer away, should keep some of it and allow it to oxidize. A thin nega- tive, if immersed in this for a few mm- utes, will be stained a deep yellow all over, and its printing quality will be much improved. Old hypo baths should be saved, and, when a sufficient quantity of silver is thought to be in solution, reduced to recover the metal. Printing paper of any sort is another great source of waste, especially to the inexperienced photographer. Prints are too dark or not dark enough success- fully to undergo the subsequent opera- tions. Spoiled material of this kind, however, is not without its uses in photography. Those who swear by the "combined bath," will find that scraps of printing-out paper, or any silver paper, are necessary to start the toning action. Spoiled mat surface, printing -out paper, bromide paper, or platinotype should be allowed to blacken all over. Here we have a dead-black surface use- ful for many purposes. A leak in the bellows when out in the field may be repaired temporarily by moistening a piece of mat printing-out paper and stick- ing it on the leak; the gelatin will cause it to adhere. These papers may also be used to back plates, platinotypes, of course, requiring some adhesive mixtiire to make them stick. « In every photographer's possession there will be found a small percentage of stained prints. Instead of throwing these away, they may often be turned to good account in the following manner: Take a large piece of cardboard, some movmtant, and the prints. Now proceed to mount them tastefully so that the corners of some overlap, arranging in every case to hide the stain. If you have gone properly to work, you will have an artistic mosaic. Now wash round with India ink, or paint a border of leaves, and the whole thing will form a very neat "tit bit." Keep the stiff bits of cardboard be- PHOTOGRAPHY ( 635 tween wnich printing paper is packed. They are useful in many ways — from opaque cards in the dark slide'to parti- tions between negatives in the storing boxes. In reclaiming old gold solutions, all liquids containing gold, with the excep- tion of baths of which cyanide forms a part, must be strongly acidulated with chlorhydric or sulphuric acid, if they are not already acid in their nature. They are afterwards diluted with a large pro- portion of ordinary water, and a solution of sulphate of ferroprotoxide (green vitriol) is poured in in excess. It is recognized that the filtered liquid no longer contains gold when the addition of a new quantity of ferric sulphate does not occasion any cloudiness. Gold precipitated in the form of a reddish or blackish powder is collected on a filter and dried in an oven with weights equal to its own of borax, saltpeter, and car- bonate of potash. The mass is after- wards introduced gradually into a fire- proof crucible and carried to a white-red neat in a furnace. When all the matter has been introduced, a slronger blast is given by closing the furnace, so that all the metal collects at the bottom of the crucible. On cooling, a gold ingot, chemically pure, will be obtained. This mode of reduction is also suitable for impure chloride of gold, and for the re- moval of gilding, but not for solutions containing cyanides, which never give up all the gold they contain; the best means of treating the latter consists in evaporat- ing them to dryness in a cast-iron boiler, and in calcining the residue in an earthen crucible at the white red. A small quantity of borax or saltpeter may be added for facilitating the fusion, but it is not generally necessary. The gold separated collects at the bottom of the crucible. It is red, if saltpeter is em- ployed; and green, if it is borax. To reclaim silver place the old films, plates, paper, etc., in a porcelain dish, so arranged that thejr will burn readily. To facilitate combustion, a little kerosene or denatured alcohol poured over the con- tents will be found serviceable. Before blowing off the burnt paper, place the residue in an agateware dish, the bottom of which is covered with a solution of saltpeter and water. Place the whole on the fire, and heat it until the silver is separated as a nitrate. The solution being complete, add to the mass a little water and hydrochloric acid, when in a short time the serviceable silver chloride will be obtained. If the films should not give up their silver as freely as the plates, then add a little more hydrochloric acid or work them up separately. Silver reclaimed in this way is eminently suitable for silver-plating all sorts of objects. FIXING AND CLEARING BATHS: The Acid Fixing and Clearing Bath.-— Add 2 ounces of S. P. C. clarifier (acid bisulphite of sodium) solution to 1 quart of hypo solution 1 in 5. Combined Alum and Hypo Bath. — Add saturated solution of sulphite of sodium to saturated solution of alum till the white precipitate formed remains un- dissolved, and when the odor of sul- phurous acid becomes perceptible. Mix this solution with an equal bulk of freshly prepared hypo solution 1 in 5, and filter. This bath will remain clear. Clearing Solution (Edward's). — Alum 1 ounce avoirdupois Citric acid. . 1 ounce avoirdupois Sulphate of iron, crys- tals 3 ounces avoirdupois Water 1 imperial pint This should be freshly mixed. Clearing Solution. — Saturated solution of alum 20 ounces Hydrochloric acid. ... 1 ounce Immerse negative after fixing and washing. Wash well after removal. Reducer for Gelatin Dry-Plate Nega- tives. — I. — Saturated solution of ferricyanide of po- tassium 1 part Hyposulphite of sodi- um solution (1 in 10) 10 parts II. — Perchloride of iron . . 30 grains Citric acid 60 grains Water 1 pint Belitski's Acid Ferric-Oxalate Re- ducer for Gelatin Plates. — Water 7 ounces Potassium ferric oxal- ate 2 J drachms Crystallized neutral sulphite of sodium. 2 drachms Powdered oxalic acid, from 30 to 45 grains Hyposulphite of soda. 1 J ounces The solution must be made in this order, filtered, and be kept in tightly closed bottles; and as under the influence of light the ferric salt is reduced to fer- BS6 PHOTOGRAPHY rous, the preparation must be kept in subdued light, in non-actinic glass bot- tles. Orthochromatic Dry Plates — Erythro- sine Bath (Mailman and Scolik). — Pre- liminary bath: Water 200 cubic centimeters Stronger am- monia. ... 2 cubic centimeters Soak a plate for 2 minutes. Color bath: Erythrosine solution (1 in 1,000) . 25 cubic centimeters Stronger ammonia (0.900) ... 4 cubic centimeters Water 175 cubic centimeters The plate should not remain longer in the bath than 1 J minutes. PAPER-SENSITIZING PROCESSES: Blueprint Paper. — I. — The ordinary blue photographic print in which white lines appear on a blue ground may be made on paper prepared as follows: A. — Potassium ferricya- nide 10 drachms Distilled water 4 ounces B. — Iron ammonia citrate. 15 drachms Distilled water 4 ounces Mix when wanted for use, filter, and apply to the surface of the paper. With this mixture no developer is re- quired. The paper after exposure is simply washed in water to remove the unaltered iron salts. The print is im- proved by immersion in dilute hydro- chloric acid, after which it must be again well washed in water. ■ II. — The following process, credited to Captain Abney, yields a photographic paper giving blue lines on a white ground: Common salt 3 ounces Ferric chloride 8 ounces Tartaric acid 3 J ounces Acacia 25 ounces Water 100 ounces Dissolve the acacia in half the water and dissolve the other ingredients in the other half; then mix. The liquid is applied with a brush to strongly sized and well rolled paper in a subdued light. The coating should be as even as possible. The paper should be dried rapidly to prevent the solution sinking into its pores. When dry, the paper is ready for exposure. In sunlight, 1 or 2 minutes is generally sufficient to give an image; while in a dull light as much as an hour is nec- essary. To develop the print, it is floated im- mediately after leaving the printing frame upon a saturated solution of po- tassium ferrocjranide. None of the de- veloping solution should be allowed to reach the back. The development is usually complete in less than a minute. The paper may be lifted off the solution when the face is wetted, the development proceeding with that which adheres to theprint. When the development is complete, the print is floated on clean water, and after 2 or 3 minutes is placed in a bath, made as follows: Sulphuric acid 3 ounces Hydrochloric acid.. . 8 ounces Water 100 ounces In about 10 minutes the acid will have removed ail iron salts not turned into the blue compound. It is next thoroughly washed and dried. Blue spots may be removed by a 4 per cent solution of caustic potash. The back of the tracing must be placed in contact with the sensitive surface. III. — Dissolve 3 J ounces of ammonia citrate of iron in 18 ounces of water, and put in a bottle. Then dissolve 2| ounces of red prussiate of potash in 18 ounces of water, and put in another bottle. When ready to prepare the paper, have the sheets piled one on top of the other, coating but one at a time. Darken the room, and light a ruby lamp. Now, mix thor- oughly equal parts of both solutions and apply the mixture with a sponge in long parallel sweeps, keeping the application as even as possible. Hang the paper in the dark room to dry and keep it dark until used. Any of the mixture left , from sensitizing the paper should be thrown away, as it deteriorates rapidly. Often, in making blueprints by sun- light, the exposure is too long, and when the frame is opened the white lines of the print are faint or obscure. Usually these prints are relegated to the waste basket; but if, after being washed as usual, they are sponged with a weak solution of chloride of iron, their recla- mation is almost certain. When the lines reappear, the print should be thoroughly rinsed in clear water. Often a drawing, from which prints have already been made, requires cnang- ing. The blueprints then on hand are worthless, requiring more time to correct PHOTOGRAPHY 537 than it would take to make a new print. An economical way of using the worth- less prints is to cancel the drawing al- ready thereon, sensitize the reverse side, and use the paper again. How to Make Picture Postal Cards and Photographic Letter Heads. — I. — ■ Well-sized paper is employed. If the sizing should be insufBcient, resizing can be done with a 10 per cent gelatin solu- tion, with a 2 per cent arrowroot paste, or with a 50 per cent decoction of carra- geen. This size is applied on the crude paper with a brush and allowed to dry. The well-sized or resized papers are superior and the picture becomes strong- er on them than on insufficiently sized paper. Coat this paper uniformly with a solution of 154 grains of ferric oxalate in 3i fluidounces of distilled water, using a brush, and allow to dry. Next, apply the solution of 154 grains of silver nitrate in 3J fluidounces or Water with a second brush, and dry again. Coating and dry- ing must be conducted with ruby light or in the dark. The finished paper keeps several days. Print deep so as to obtain a strong pic- ture and develop in the following bath: Distilled water... 3^ fluidounces Potassium oxal- ate (neutral) . . 340 grains Oxalic acid 4 grains After developing the well-washed prints, fix them preferably in the follow- ing bath: Distilled water . . 3 J fluidounces Sodium thiosul- phate 75 grains Gold chloride solution (1 in 100) 80 minims Any other good bath may be em- ployed. II. — Starch is dissolved in water and the solution is boiled until it forms a thin paste. Carmine powder is added, and the mixture is rapidly and assidu- ously stirred until it is homogeneous throughout. It is now poured through muslin and spread by means of a suit- able pencil on the paper to be sensitized. Let dry, then float it, prepared side down on a solution of potassium chromate, 30 parts in 520 parts of distilled water, being careful to prevent any of the licjuid from getting on the back or reverse side. Dry in the dark room, and preserve in dark- ness. When desired for use lay the neg- ative on the face of the paper, and expose to the full sunlight for- 5 or 6 minutes (or about an hour in diffused light). Wash- ing in plenty of water completes the proc- ess. A Simple Emulsion for Mat or Print- ing-Out Paper. — One of the very best surfaces to work upon for coloring in water color is the carbon print. Apart from its absolute permanency as a base, the surface possesses the right tooth for the adhering of the pigment. It is just such u, surface as this that is required upon other prints than carbon, both for finished mat surfaces and for the pur- poses of coloring. The way to ob- tain this surface upon almost any kind of paper, and to print it out so that the correct depth is ascertained on sight, will be described. Some of the crayon drawing papers can be utilized, as well as many other plain photographic papers that may meet the desires of the pho- tographer. If a glossy paper is desired, the emulsion should be coated on a baryta-coated stock. There will be required, in the first place, 2 half-gallon stoneware crocks with lids. The best shape to employ is a crock with the sides running straight, with no depressed ridge at the top. One of these crocks is for the preparation of the emulsion, the other to receive the emulsion when filtered. An enameled iron saucepan of about 2 gallons capac- ity will be required in which to stand the crock for preparing the emulsion, and also to remelt the emulsion after it has become set. The following is the formula for the emulsion, which must be prepared and mixed in the order given. Failure will be impossible if these details are scrupulously attended to. Having procured 2 half-gallon stone- ware crocks with lids, clean them out well with hot and cold water, and place into one of these the following: Distilled water 10 ounces Gelatin (Heinrich's, hard) 4 ounces Cut the gelatin into shreds with a clean pair of scissors. Press these shreds beneath the water with a clean strip of glass and allow to soak for 1 hour. Now proceed to melt the water-soaked gelatin by placing the crock into hot water in the enameled saucepan, the water standing about half way up on the outside of the crock. Bring the wa.ter to boiling point, and keep the gelatin oc- casionally stirred until it is completely dissolved. Then remove the crock to allow the contents to cool down to 120° F. Now prepare the following, which can be done while the gelatin is melting: 538 PHOTOGRAPHY No. 1 Eochelle salts. 90 grains Distilled water 1 ounce No. 2 Chloride of ammo- nium 45 grains Distilled water 1 ounce No. 3 Nitrate of silver, 1 ounce and 75 grains Citric acid (crushed crystals) 95 grains Distilled water 10 ounces No. 4 Powdered white alum 90 grains Distilled water (hot) . . 5 ounces The latter solution may be made with boiling water. When these solutions are prepared, pour into the hot gelatin solution No. 1, stirring all the while with a clean glass rod. Then add No. 2. Rinse the vessel with a little distilled water, and add to the gelatin. Now, while stirring gradually, add No. 3, and lastly add No. 4, which may be very hot. This will cause a decided change in the color of the emulsion. Lastly add 2 ounces of pure alcohol (photographic). This must be added very gradually with vigoi'ous stirring, because if added too quickly it will coagulate the gelatin and form insoluble Itimps. The emul- sion must, of course, be mixed under a light not stronger than an ordinary small gas-jet, or under a jjellow light obtained by covering the windows with yellow paper. The cover may now be placed upon the crock, and the emulsion put aside for 2 or 3 days to ripen. At the end of this time the contents of the crock, now formed into a stiff emul- sion, may be remelted in hot water by placing the crock in the enameled sauce- pan over a gas stove. The emulsion may be broken up by cutting it with a clean bone or hard-rubber paper cutter to facilitate the melting. Stir the mix- ture occasionally until thoroughly dis- solved, and add the following as soon as the emulsion has reached a temperature of about 150° F.: Distilled water 4 ounces Pure alcohol 1 ounce The emulsion must now be filtered into the second crock. The filtering is best accomplished in the following man- ner: Take an ordinary plain-top kero- sene lamp chimney, tie over the small end two thicknesses of washed cheese cloth. Invert the chimney and insert a tuft of absorbent cotton about the size of an ordinary egg. Press it carefully down upon the cheese cloth, tix the chimney in the ring of a retort stand (or cut a hole about 3 inches in diameter in a wooden shelf), so that the crock may stand conveniently beneath. In the chimney place a strip of glass, resting upon the cotton, to prevent the cotton from lifting. Now pour in the hot emul- sion and allow the whole of it to filter through the absorbent cotton. This accomplished, we are now ready for coating the paper, which is best done in the following manner: Cut the paper into strips or sheets, say 12 inches wide and the full length of the sheet. This will be, let us suppose, 12 X 26 inches. Attach, by means of the well-known photographic clips, a strip of wood at each end of the paper upon the back. Three clips at each end will be required. Having a number of sheets thus prepared, the emulsion should be poured into a porcelain pan or tray, kept hot by standing within another tray containing hot water. The emul- sion tray being, say, 11 x 14 size, the paper now is easily coated by holding the clipped ends in each hand, then hold- ing the left end of the paper up, and the right-hand end lowered so that the curve of the paper just touches the emulsion. Then raise the right hand, at the same time lowering the left hand at the same rate. Then lower the right hand, lifting the left. Repeat this operation once more; then drain the excess of emulsion at one corner of the tray, say, the left- hand corner. Just as soon as the emul- sion has drained, the coated sheet of Eaper may be hung up to dry, by the ooks attached to the clips, upon a piece of copper wire stretched from side to side of a spare closet or room that can be kept darkened until the paper is dry. In this way coat as much paper as may be required. When it is dry it may be rolled up tight or kept flat under pressure until needed. If any emulsion remains it may be kept in a cool place for 2 weeks, and still be good for coating. Be sure to clean out all the vessels used before the emul- sion sets, otherwise this will present a difljcult task, since the emulsion sets into an almost insoluble condition. This emulsion is so made that it does not require to be washed. If it is washed it will become spoiled. It is easy to make and easy to use. If it is desired that only small sheets of paper are to be coated, they may be floated on the emul- sion, but in this case the paper must be damp, which is easily accomplished by PHOTOGRAPHY wetting a sheet of blotting paper, then covering this with two dry sheets of blot- ting paper. Place the sheets to be coated upon these, and place under pressure during the night. Next day they will be in good condition for floating. When the coated paper is dry it may be printed and toned just the same as any other printing-oxit paper, with any toning bath, and fixed in hyposulphite of soda as usual. Toning may be carried to a rich blue black, or if not carried-too far will remain a beautiful sepia color. After well washing and drying, it will be observed that the surface corresponds with that of a carbon print; if the paper has been of a somewhat absorbent char- acter, the surface will be entirely mat, and will give an excellent tooth for coloring, or finishing in sepia, black and white, etc. How to Sensitize Photographic Print- ing Papers. — I. — The older form of paper is one in which the chemicals are held by albumen. Silver is said to com- bine with this, forming an albuminate. Pictures printed on this would be too sharp in their contrasts, and conse- 3iicntly "hard"; this is avoided by intro- ucing silver chloride. To prepare this form of paper, beat 15 ounces of fresh egg albumen with 5 ounces of distilled water, dissolve in it 300 grains of ammonium chloride, set aside for a time, and decant or filter. Suitable paper is coated with this solu- tion by floating, and then dried. The paper is "sensitized" by floating it on a solution of silver nitrate in distilled water, about 80 grains to the ounce, with a drop of acetic acid. The paper is dried as before, and is then ready for printing. The sensitizing must, of course, be done in the dark room. The reaction between the ammonium chloride present in the albumen coating produces a certain quantity of silver chlo- ride, the purpose of which is shown above. Of course, variations in the proportions of this ingredient will give different de- grees of softness to the picture. II. — The bromide and chloride papers which are now popular consist of the or- dinary photographic paper sensitized by means of a thin coating of bromide or chloride emulsion. In "Photographic Printing Methods," by the Rev. W. H. Burbank, the following method is given for bromide paper: A. — Gelatin (soft) 42 J grains Bromide of potassium 20 grains Distilled water 1 ounce B, — Nitrate of silver 33i grains Distilled water 1 ounce Dissolve the bromide first, then add the gelatin and dissolve by gentle heat (95° to 100° P.). Bring the silver so- lution to the same temperature, and add in a small stream to the gelatin solution, stirring vigorously, of course in non-ac- tinic light. Keep the mixed emulsion at a temperature of 105° F. for half an hour, or according to the decree of sensitive- ness required, previously adding 1 drop of nitric acid to every 5 ounces of the emulsion. Allow it to set, squeeze through working canvas, and wash 2 hours in running water. In bis own practice he manages the washing easily enough by breaking the emulsion up into an earthen jar filled with cold water, and placed in the dark room sink. A tall lamp chimney standing in the jar immediately under the tap conducts fresh water to the bottom of the jar, and keeps the finely divided emulsion in con- stant motion; a piece of muslin, laid over the top of the jar to prevent any of the emulsion running out, completes this simple, inexpensive, but efiicient wash- ing apparatus. Next melt the emulsion and add one- tenth of the whole volume of glycerine and alcohol; the first to prevent trouble- some cockling of the paper as it dries, the second to prevent air bubbles and hasten drying. Then filter. With the emulsion the paper may be coated just as it comes from the stock dealer, plain, or, better still, given a substratum of insoluble gelatin, made as follows: Gelatin If grains Water 1 ounce Dissolve and filter; then add 11 drops of a 1 in 50 filtered chrome alum solution. The paper is to be floated for half a minute on this solution, avoiding ait bubbles, and then hung up to dry in a room free from dust. The purpose of this substratum is to secure additional brilliancy in the finished prints by keep- ing the emulsion isolated from the sur- face of the paper. The paper should now be cut to the size desired. We do not know of these processes having been applied to postal cards, but unless there is some substance in the sizing of the card which would interfere, there is no reason why it should not be. Of course, however, a novice will not get the results by using it that an experienced hand would. Ferro-Prussiate Paper .-^The follow- ing aniline process of preparing sensitive gaper is employed by the Prussian and [essian railway administrations. The 640 PHOTOGRAPHY ordinary paper on reels is used for the purpose, and sensitized as follows: Two hundred and fifty parts, by weight, of powdered potassium bichro- mate are dissolved in water; the solution should be completely saturated; 10 parts of concentrated sulphuric acid, 10 parts of alcohol (962), and 30 parts of phos- phoric acid, are added successively, and the whole stirred together. The solu- tion is sponged over the paper. It is not necessary to have the room absolutely dark, or to work by a red light, still the light should be obscured. The drying of the paper, in the same place, takes about 10 minutes, after which the tracing to be reproduced and the paper are placed in a frame, as usual, and exposed to daylight. On a sunny day, an ex- posure of 35 seconds is enough; in cloudy weather, 60 to 70 seconds; on a very dark day. as much as 5 minutes. After exposure, the paper is fixed by suspending it for 20 minutes upon a bar in a closed wooden box, on the bottom of which are laid some sheets of blotting paper, sprinkled with 40 drops of ben- zine and 20 of crude aniline oil. The vapors given off will develop the design. Several impressions may be taken at the same time. For fixing, crude aniline oil is to be used (anilinum purum), not refined (purissimum), for the reason that the former alone contains the substances necessary for the operation. The re- produced design is placed in water for a few minutes, and hung up to dry. Pigment Paper for Immediate Use. — Pigment paper is usually sensitized in the bichromate solution on the evening before it is desired for use. If it is not then used it will spoil. By proceeding as follows the paper inay be used within a quarter of an hour after treating it in the bichromate bath. Make a. solu- tion of Ammonium bi- chromate 75 grains Water 3^ nuidounees Sodium carbonate 15 grains Mix 0.35 ounces of this solution with 0.7 ounces alcohol, and with a broad brush apply to surface of the pigment paper, as evenly as possible. Dry this paper as quickly as possible in a pasteboard box of suitable size, 15 minutes being usually long enough for the purpose. It may then be used at once. Photographing on Silk. — China silk is thoroughly and carefully washed to free it from dressing, and then immersed in the following solution: Sodium chloride. ... 4 parts Arrowroot 4 parts Acetic acid 15 parts Distilled water 100 parts Dissolve the arrowroot in the water by warming gently, then add the remaining ingredients. Dissolve 4 parts of tannin in 100 parts of distilled water and mix the solutions. Let the silk remain in the bath for 3 minutes, then hang it care- fully on a cord stretched across the room to dry. The sensitizing mixture is as follows: Silver nitrate 90 parts Distilled water 750 parts Nitric acid 1 part Dissolve. On the surface of this so- lution the silk is to be floated for 1 minute, then hung up till superficially dry, then pinned out carefully on a flat board until completely dry. This must, of course, be done in the dark room. Print, wash, and tone in the usual man- ner. TONING BATHS FOR PAPER. The chief complaints made against separate baths are (1) the possibility of double tones, and (2) that the prints sometimes turn yellow and remain so. Such obstacles may easily be removed by exercising a little care. Double tones may be prevented by soaking the prints in a 10 per cent solution of common salt before the preliminary washing, and by not touching the films with the fingers; and the second objection could not be raised provided fresh solution were used, with no excess of sulphocyanide, if this be the bath adopted. A very satisfactory solution may be made as follows: Sodium phosphate ... 20 grains Gold chloride 1 J grains Distilled (or boiled) water 10 ounces This tones very quickly and evenly, and the print will be, when fixed, exactly the color it is when removed from the bath. Good chocolate tints may be obtained, turning to purple gray on pro- longed immersion. Next to this, as regards ease of ma- nipulation, the tungstate bath may be placed, the following being a good for- mula: Sodium tungstate. ... 40 grains Gold chloride 2 grains Water 12 ounces The prints should be toned a little further than requii-ed, as they change color, though only slightly, in the hypo. PHOTOGRAPHY 541 Provided that ordinary care be ex- ercised, the sulphocyanide bath cannot well be improved upon. The formulas given by tne various makers for their respective papers are all satisfactory, and differ very little. One that always acts well is Ammonium sulpho- cyanide 28 grains Distilled water 16 ounces Gold chloride 2 J grains For those who care to try the various baths, and to compare their results, here is a, table showing the quantities of dif- ferent agents that may be used with sufficient water to make up 10 ounces: Gold chlo- ride, 1 gr. to 1 oz. water.. . . Borax .... Sod. bicar- bonate. . . Sod. car- 12 dr. 60 gr. 16 dr. 10 gr. 16 dr. 20 gr. 11 dr. 20 gr. 11 dr. 40 gr. 14 dr. Sod, phos- Sod. tung- Amm. sul- phocya- 17.5 gr. We may take it that any of these sub- stances reduce gold trichloride, AuCls to AuCl; this AuCl apparently acts as an electrolyte, from which gold is deposited on the silver of the image, and at the same time a small quantity of silver combines with the chlorine of the gold chloride thus: AuCl -f Ag = AgCl + Au When toning has been completed, the prints are washed and placed in the fix- mg bath, when the sodium thiosulphate E resent dissolves any silver chloride that as not been affected by light. Besides the well-known, every-day tones we see, which never outstep the narrow range between chocolate brown and purple, a practically infinite variety of color, from chalk red to black, may be obtained by a little careful study of ton- ing baths instead of regarding them as mere unalterable machines. Most charm- ing tints are produced with platinum baths, a good formula being Strong nitric acid .... 5 drops Water 4 ounces Chloro-platinite of po- tassium 1 grain The final tone of a print cannot be judged from its appearance in the bath, but some idea of it may be got by holding it up to the light and looking through it. A snort immersion gives various reds, while prolonged toning gives soft grays. Results very similar to platinotype may be obtamed with the following combined gold and platinum bath: A. — Sodium acetate 1 drachm Water 4 ounces Gold chloride 1 grain B. — Chloro-platinite of po- tassium 1 grain Water 4 ounces Mix A and B and neutralize with nitric acid. (The solution will be neutral when it just ceases to turn red litmus, paper blue.) -*° Another toning agent is stannous chloride. Two or three grains of tin foil are dissolved in strong hydrochloric acid with the aid of heat. The whole is then made up to about 4 ounces with water. Toning Baths for Silver Bromide Paper. — The picture, which has been exposed at a distance of 1| feet for about 8 to 10 seconds, is developed in the cus- tomary manner and fixed in an acid fixing bath composed of Distilled water.. 1,000 cubic centimeters Hyposulphite of soda 100 grams , Sodium sulphite 20 grams Sulphuric acid. . 4 to 5 grams First dissolve the sodium sulphite, then add the sulphuric acid, and finally the hyposulphite, and dissolve. Blue tints are obtained by laying the picture in a bath composed as follows: A. — Uranium ni- trate 2 grams Water 200 cubic centimeters B. — Red p r u s - siate o f potash ... 2 grams Water 200 cubic centimeters C. — A m m o n i a- iron-alum 10 grams Water 100 cubic centimeters Pure hydro- chloric acid 15 cubic centimeters Immediately before the toning, mix Solution A . . 200 cubic centimeters Glacial ace- tic acid. . . 20 cubic centimeters Solution 5.. 200 cubic centimeters Solution C. . 30 to 40 cubic centi- meters Brown tints. Use the following so- lutions: 642 PHOTOGRAPHY A. — Uranium ni- trate 12 grams Water 1,000 cubic centimeters B. — Red p r u s - s i a t e of potasli ... 9 grams Water 1,000 cubic centimeters And mix immediately before use Solution A. . 100 cubic centimeters Solution B. . 100 cubic centimeters Glacial ace- tic acid ... 10 cubic centimeters Pictures toned in this bath are then laid into the following solution; Water 1,500 cubic centimeters Pure hydro- chloric acid 6 cubic centimeters Citric acid.. 20 grams To Turn Blueprints Brown. — A piece of caustic soda about the size of a bean is dissolved in 5 ounces of water and the blueprint immersed in it, on which it will take on an orange-yellow color. When the blue has entirely left the print it should be washed thoroughly and im- mersed in a bath composeQ|of 8 ounces of water in which has been dissolved a heaping teaspoonf ul of tannic acid. The prints in this bath will assume a brown color that may be carried to almost any tone, after which they must again be thoroughly Washed and allowed to dry. COMBINED TONING AND FIXING BATHS. The combined toning and fixing bath consists essentially of five parts — (1) water, the solvent; (2) a soluble salt of gold, such as gold chloride; (3) the fixing agent, sodium thiosulphate; (4) a compound which will readily com- bine with "nascent" sulphur — i. e., sul- phur as it is liberated — this is usually a soluble lead salt, such as the acetate or nitrate, and (5) an auxiliary, such as a sulphocyanide. The simplest bath was recommended by Dr. John Nicol, and is as follows: Sodium thiosulphate. 3 ounces Distilled water 16 ounces When dissolved, add Gold chloride. ... 4 grains Distilled water ... 4 fluidrachms A bath which contains lead is due to Dr. Vogel, whose name alone is sufficient to warrant confidence in the formula: Sodium thiosulphate 7 ounces Ammonium sulpho- cyanide 1 ounce Lead acetate 67 grains Alum 1 ounce Gold chloride 12 grains Distilled water 35 fluidouncea A bath which contains no lead is one which has produced excellent results and is due to the experimental research of Dr. Liescgang. It is as follows: Ammonium sul- phocyanide. ... i ounce Sodium chloride. . 1 ounce Alum i ounce Sodium thiosul- phate 4 ounces Distilled water. . . 24 fluidounces Allow this solution to stand for 24 hours, during which time the precipi- tated sulphur sinks to the bottom of the vessel; decant or filter, and add Gold chloride. ... 8 grains Distilled water. .. 1 fluidounce It is curious that, with the two baths last described, the addition to them of some old, exhausted solution makes them work all the better. ENLARGEMENTS. Times of Enlahgement and Reduction ■fl -a JS -a rSi ja J3 J3 o CJ o o CI u O U o G .0 _rt _g _c ^a _g _C a Ix.kJ l-H 4 6 CO 8 ■* SHOE DRESSINGS to the preparations on the market. As a type of the mixture occasionally recom- mended we may quote the following: I. — Yellow wax 4 ounces Pearl ash 4 drachms Yellow soap 1 drachm Spirit of turpentine. 7 ounces Phosphine (aniline). 4 grains Alcohol 4 drachms Water, a sufficient quantity. Scrape the wax fine and add it, to- gether with the ash and soap, to 12 ounces of water. Boil all togetner until a smooth, creamy mass is obtained; re- move the heat and add the turpentine and the aniline (previously dissolved in the alcohol). Mix thoroughly, and add sufficient water to bring the finished product up to 1 J pints. II. — Water 18 parts Rosin oil 4J parts Spirit of sal ammo- niac, concentrated 1^ parts White grain soap. . . 1.93 parts Russian glue 1.59 parts Brown rock candy . . 0.57 parts Bismarck brown. . . . 0.07 parts Boil all the ingredients together, ex- cepting the pigment; after all has been dissolved, add the Bismarck brown and filter. The dressing i? applied with a sponge. III. — Beeswax, yellow. ... 2 ounces Linseed oil 3 ounces Oil turpentine 10 ounces Dissolve by heat of a water bath, and add IJ ounces soap shavings, hard yel- low. Dissolve this in 14 ounces of hot water. IV. — A simpler form of liquid mix- ture consists of equal parts of yellow wax and palm oil dissolved with the aid of heat in 3 parts of oil of turpentine. V. — Soft or green soap. . . 1 ounce Linseed oil, raw .... 2 ounces Annatto solution (in oil) 7 ounces Yellow wax 2 ounces Gum turpentine. ... 7 ounces Water 7 ounces Dissolve the soap in the water and add the solution of annatto; melt the wax in the oil of turpentine, and gradually stir in the soap solution, stirring until cold. The paste to accompany the foregoing mixtures is composed of yellow wax and rosin thinned with petrolatum, say 4 parts of wax, 1 part of rosin, and 12 part^ of petrolatum. Paste Dressings for Russet Shoes. — The paste dressings used on russet leather consist of mixtures of wax with oil and other vehicles which give a mix- ture of proper working quality. A simple formula is: I. — Yellow wax 9 parts Oil of turpentine. ... 20 parts Soap 1 part Boiling water £0 parts Dissolve the wax in the turpentine on a water bath and the soap in the water and stir the two liquids together until the mixture becomes sufficiently cold to re- main homogeneous. Another formula in which stearine is used is appended: 11.— Wax. 1 part Stearine 2 parts Linseed oil 1 part Oil of turpentine. ... 6 parts Soap 1 part Water 10 parts Proceed as above. Carnauba wax is often used by manu- facturers of such dressings instead of beeswax, as it is harder and takes a higher polish. These dressings are sometimes colored with finely ground yellow ocher or burnt umber. If the leather be badly worn, however, it is best to apply a stain first, and afterwards the waxy dressing. Suitable stains are made by boiling safilower iil water, and annatto is also used in the same way, the two being sometimes mixed together. Oxalic acid darkens the color of the safHower. Ani- line colors would also doubtless yield good results with less trouble and ex- pense. By adding finely ground lamp- black to the waxy mixture instead of ocher, it would answer as a dressing for black leather. WATERPROOF SHOE DRESSINGS. I. — Caoutchouc 10 parts Petroleum 10 parts Carbon disulphide. 10 parts Shellac 40 parts Lampblack 20 parts Oil lavender 1 part Alcohol 200 parts Upon the caoutchouc in a bottle pour the carbon disulphide, cork well, and let stand a few days, or until the caoutchouc has become thoroughly gelatinized or partly dissolved. Then add the petro- leum, oil of lavender, and alcohol, next the shellac in fine powder, and heat it to about 120° P., taking care that as little as possible is lost by evaporation. When the substances are all dissolved and the liquid is tolerably clear, add the lamp- SHOE DRESSINGS— SHOW CASES 635 black, mix thoroughly, and fill at once into small bottles. II.-^A waterproof-bjacking which will give a fine polish wiBiout rubbing, and will not injure the leather: Beeswax 18 parts Spermaceti 6 parts Turpentine oil 66 parts Asphalt varnish .... 5 parts Powdered borax .... 1 part Frankfort black .... 5 parts Prussian blue 2 parts Nitro-benzol 1 part Melt the wax, add the powdered bor- ax and stir till a kind of jelly has formed. In another pan melt the spermaceti, add the asphalt varnish, previously mixed with the oil of turpentine, stir well, and add to the wax. Lastly add the color previously rubbed smooth with a little of the mass. The nitro-benzol gives fra- grance. Waterproof Varnish for Beach Shoes. — Yellow.— Water 150 parts Borax 5 parts Glycerine 3 parts Spirit of ammonia. . . 1 part White shellac 25 parts Yellow pigment, water soluble 1 part Pormalin, a few drops. Orange. — Water 150 parts Borax 5 parts Glycerine 2 parts Spirit of ammonia. . . 1 part Ruby shellac 22 parts Orange, water solu- ble 1 part Brown 0.3 parts Formalin 0.1 part Pale Brown. — - Water 150 parts Borax 5 parts Glycerine 2 parts Spirit of ammonia. . . 0.25 parts White shellac 25 parts Yellow, water solu- ble 8 parts Orange 0.3 parts Formalin 0.1 part Stir the glycerine and the spirit of ammonia together in a special vessel be- fore putting both into the kettle. It is also advisable, before the water boils, to pour a little of the nearly boiling water into a clean vessel and to dissolve the colors therein with good stirring, adding this solution to the kettle after the shellac has been dissolved. White Shoe Dressing. — I. — Cream of tartar 3 ounces Oxalic acid 1 ounce Alum 1 ounce Milk 3 pints Mix and rub on the shoes. When they are thoroughly dry, rub them with a mixture of prepared chalk and magne- sium carbonate. II. — Water 136 parts Fine pipe clay 454 parts Shellac, bleached. . 136 parts Borax, powdered . . 68 parts Soft soap 8 parts Ultramarine blue. . 5 parts Boil the shellac in the water, adding the borax, and keeping up the boiling until a perfect solution is obtained, then stir in tne soap (5 or 6 parts of "ivory" soap, shaved up, and melted with 2 or 3 parts of water, is better than common soft soap), pipe clay, and ultramarine. Finally strain through a hair-cloth sieve. This preparation, it is said, leaves abso- lutely nothing to be desired. A good deal of stiffness may be imparted to the leather by it. The addition of a little glycerine would remedy this. The old application should be wiped away before a new one is put on. This preparation is suitable for military shoes, gloves, belts, and uniforms requiring a white dressing. SHOES, WATERPROOFING: See Waterproofing. SHIO LIAO: See Adhesives, under Cements. SHIP COMPOSITIONS AND PAINTS: See Paints. SHOW BOTTLES FOR DRUGGISTS: See Bottles. SHOW CASES. Dents in show cases and counters, and, indeed, almost all forms of "bruises" on shop and other furniture, may be re- moved by the exercise of a little patience, and proceeding as follows: Sponge the place with water as warm as can be borne by the hand. Take a piece of filtering or other bibulous paper large enough to fold 6 or 8 times and yet cover the bruise, wet in warm water and place over the spot. Take a warm (not hot) smoothing iron and hold it on the paper until the moisture is evaporated (re- newing its heat, if necessary). If the bruise does not yield to the first trial, re- peat the process, A dent as large as a 636 SICCATIVES dollar and i inch deep in the center, in black walnut of tolerably close texture, was brought up smooth and level with the surrounding surface by two applica- tions of the paper and iron as described. If the bruise be small, a sponge dipped in warm water placed upon it, renewing the warmth from time to time, will be all-sufficient. When the dent is removed and the wood dry, the polish can be re- stored by any of the usual processes. If the wood was originally finished in oil, rub with a little boiled linseed cut with acetic acid (oil, 8 parts; acid, 1 part). If it was "French polished," apply an al- coholic solution of shellac, and let dry; repeat if necessary, and when completely dry proceed as follows: Rub the part covered with shellac, first with crocus cloth and a few drops of olive oil, until the ridges, where the new and old polisTi come together, disappear; wipe with a slightly greased but otherwise clean rag and finish with putz pomade. SHOW-CASE SIGNS: See Lettering. SHOW-CASES, TO PREVENT DIM- MING OF: See Glass. Siccatives The oldest drier is probably litharge, a reddish - yellow powder, consisting of lead and oxygen. Formerly it was ground finely in oil, either pure or with admixture of white vitriol and added to the dark oil paints. Litharge and sugar of lead are used to-day only rarely as drying agents, having been displaced by the liquid manganese siccatives, which are easy to handle. E. Ebelin, however, is of the opinion that the neglect of the lead compounds has not been beneficial to decorative painting. Where these mediums were used in suitable quantities hard-drying coatings were almost always obtained. Ebelin oelieves that formerly there used to be less lamentation on account of tacky floors, pews, etc., than at the present time. Doubtless a proposition to grind litharge into the oil again will not be favorably received, although some old master painters have by no means dis- carded this method. Sugar of lead (lead acetate) is likewise used as a drier for oil paint. While we may presume in general that a siccative acts by imparting its oxygen to the lin- seed oil or else prepares the linseed oil in such a manner as to render it capable of readily absorbing the oxygen of the air, it is especially sugar of lead which strengthens us in this belief. If, ac- cording to Leuchs, a piece of chai'coal is saturated with lead acetate, the charcoal can be ignited even witli a burning sponge, and burns entirely to ashes. (Whoever desires to make the experi- ment should take 2 to 3 parts, by weight, of sugar of lead per 100 parts of char- coal.) This demonstrates that the sugar of lead readily parts with its oxygen, which though not burning itself, sup- ports the combustion. Hence, it may be assumed that it will also as a siccative freely give off its oxygen. Tormin reports on a siccative, of which he says that it has been found valuable for floor coatings. Its produc- tion is as follows: Pour 1 part of white lead and IJ parts each of litharge, sugar of lead and red lead to 12J parts of lin- seed oil, and allow this mixture to boil for 8 to 10 hours. Then remove the kettle from the fire and add to the mix- ture 20 parts of oil of turpentine. During the boiling, as well as during and after the pouring in of the oil turpentine, diligent stirring is necessary, partly to prevent anything from sticking to the kettle (which would render the drier im- pure) and partly to cause the liquid mass to cool off sooner. After that, it is allowed to stand for a few days, whereby the whole will clarify. The upper layer is then poured off and added to the light tints, while the sediment may be used for the darker shades. _ If white vitriol (zinc sulphate or zinc vitriol) has been introduced among the drying agents, this is done in the en- deavor to create a non-coloring admix- ture for the jvhite pigments and also not to be compelled to add lead compounds, which, as experience has shown, cause a yellowing of white coatings to zinc white. For ordinary purposes. Dr. Koller recommends to add to the linseed oil 2 per cent (by weight) of litharge and i per cent of zinc vitriol, whereupon the mixture is freely boiled. If the white vitriol is to be added in powder form, it must be deprived of its constitutional water. This is done in the simplest manner by calcining. The powder, which feels moist, is subjected to the action of fire on a sheet-iron plate, whereby the white vitriol is transformed into a vesicu- lar, crumbly mass. At one time it was ground in oil for pure zinc white coat- ings only, while for the other pigments litharge is added besides, as stated above. As regards the manganese prepara- tions which, are employed for siccatives, it must be stated that they do not possess SICCATIVES 637 certain disadvantages of the lead prepar- ations as, for instance, that of being acted upon by hydrogen sulphide gas. The ordinary brown manganese driers, however, are very liable to render the paint yellowish, which, of course, is not desirable for pure white coatings. In case of too large an addition of the said siccative, a strong subsequent yellowing is perceptible, even if, for instance, zinc white has been considerably " broken " by blue or black. But there are also manganese siccatives or drying prepara- tions offered for sale which are colorless or white, and therefore may unhesitatingly be used in comparatively large quanti- ties for white coatings. A pulverulent drying material of this kind consists, for example, of equal parts of calcined (i. e., anhydrous) manganese vitriol, man- ganous acetate, and calcined zinc vitriol. Of this mixture 3 per cent is added to the zinc white. Of the other manganese compounds, especially that containing most oxygen, viz., manganic peroxide, is extensively employed. This body is treated as follows: It is first coarsely powdered, feebly calcined, and sifted. Next, the substance is put into wire gauze and suspended in linseed oil, which should be boiled slightly. The weight of the linseed oil should be 10 times that of the manganese peroxide. According to another recipe a pure ulverous preparation may be produced y treating the manganic peroxide with hydrochloric acid, next filtering, precipi- tating; with hot borax solution, allowmg to deposit, washing out and finally dry- ing. Further recipes will probably be unnecessary, since the painter will hardly prepare his own driers. Unless for special cases driers should be used but sparingly. As a rule 3 to 5 per cent of siccative suffices; in other words, 3 to 5 pounds of siccative should be added to 100 pounds of ground oil paint ready for use. As a standard it may be proposed to endeavor to have the coating dry in 24 hours. For lead colors a slight addition of drier is ad- visable; for red lead, it may be omitted altogether. Where non-tacky coatings are desired, as for floors, chairs, etc., as well as a priming for wood imitations, lead color should always be employed as foundation, and as a drier also a lead preparation. On the other hand, no lead compounds should be used for pure zinc-white coats and white lacquering. Testing Siccatives. — Since it was dis- covered that the lead and manganese compounds of rosin acids had a better I and more rapid action on linseed oil than the older form of driers, such as red lead, litharge, manganese dioxide, etc., the number of preparations of the former class has increased enormously. Man- ufacturers are continually at work en- deavoring to improve the quality of these compounds, and to obtain a prep- aration wnich will be peculiarly their own. Consequently, with such a large variety of substances to deal with, it becomes a matter of some difficulty to distinguish the good from the bad. In addition to the general appearance, color, hardness, and a few other such physical properties, there is no means of ascer- taining the quality of these substances except practical testing of their drying properties, that is, one must mix the driers with oil and prove their value for oneself. Even the discovery of an ap- parently satisfactory variety does not end the matter, for experience has shown that such preparations, even when they appear the same, do not give similar results. A great deal depends upon their preparation; for example, manga- nese resinate obtained from successive consignments, and containing the same percentage of manganese, does not al- ways give identical results with oil. In fact, variation is the greatest drawback to these compounds. With one prepar- ation the oil darkens, with another it remains pale, or sometimes decomposi- tion of the oil takes place in part. The addition of a small proportion of drier has been known to cause the separation of 50 per cent of the oil as a dark viicous mass. One drier will act well, ard the oil will remain thin, while with another, the same oil will in the course of a few months thicken to the consistercy of stand oil. These various actions may all be obtained from the same compound of rosin with a metal, the source only of the drier varying. The liquid siccatives derived from these compounds by solution in turpen- tine or benzine also give widely divergent results. Sometimes a slight foot will separate, or as much as 50 per cent may go to the bottom of the pan, and at times the whole contents of the pan will settle to a thick, jelly-like mass. By increas- ing the temperature, this mass will be- come thin and clear once more, and dis- tillation will drive over pure unaltered turpentine or benzine, leaving behind the metallic compound of rosin in its original state. The compounds of metals with fatty acids which, in solution in turpentine, have been used for many years by var- 638 SICCATIVES nish-makers, show even greater variation. At tlie same time, a greater drying power is obtained from them than from rosin acids, quantities being equal. As these compounds leave the factory, they are often in solution in linseed oil or turpen- tine, and undoubtedly many of the prod- ucts of this nature on the market are of very inferior quality. The examination of these bodies may be set about in two ways: A. — -By dissolving in linseed oil with or without heat. B. — By first dissolving the drier in turpentine and mixing the cooled solu- tion (liquid siccatives) with linseed oil. Before proceeding to describe the method of carrying out the foregoing tests, it is necessary to emphasize the important part which the linseed oil plays in the examination of the driers. As part of the information to be gained by these tests depends upon the amount of solid matter which separates out, it is essential that the linseed oil should be uniform. To attain this end, the oil used must always be freed from muci- lage before being used for the test. If this cannot readily be obtained, ordinary linseed oil should be heated to a temper- ature of from 518° to 572° P., so that it breaks, and should then be cooled and filtered. With the ordinary market linseed oil, the amount of solid matter which separates varies within wide limits, so that if this were not removed, no idea of the separation of foot caused by the driers would be obtained. It is not to be understood from this that unbroken linseed oil is never to be used for ordinary paint or varnish, the warn- ing being oniy given for the sake of ar- riving at reliable values for the quality of the driers to be tested. A. — Solution of Drier in Linseed Oil. — ^The precipitated metallic compounds of rosin (lead resinate, manganese res- inate and lead manganese resinate) dis- solve readily in linseed oil of ordinary temperature (60° to 70° P.). The oil is mixed with IJ per cent of the drier and subjected to stirring or shaking for 24 hours, the agitation being applied at intervals of an hour. Fused metallic res- inates are not soluble in linseed oil at or- dinary temperatures, so different treat- ment is required for them. The oil is heated in an enameled pan together with the finely powdered drier, until the latter is completely in solution, care being taken not to allow the temperature to rise above 390° F. The pan is then re- moved from the fire and its contents allowed to settle. The quantity of drier used should not exceed IJ to 3 per cent. In the case of metallic linoleates (lead linoleate, manganese linoleate and lead- manganese linoleate), the temperature must be raised above 290° F. before they will go into solution. In their case also the addition should not be greater than 3 per cent. Note, after all the tests have settled, the amount of undissolved matter which is left at the bottom, as this is one of the data upon which an idea of the value of the drier must be formed. B. — Solution of Drier in Turpentine or Benzine. — For the preparation of these liquid siccatives 1 to 1.4 parts of the metallic resinate or linoleate are added to the benzine or turpentine and dis- solved at a gentle heat, or the drier may first be melted over a fire and added to the solvent while in the liquid state. The proportion of matter which does not go into solution must be carefully noted as a factor in the valuation of the drier. From 5 to 10 per cent of the liquid sicca- tive is now added to the linseed oil, and the mixture shaken well, at intervals dur- ing 24 hours. Samples of all the oils prepared as above should be placed in small clear bottles, which are very narrow inside, so that a thin layer of the oil may be ob- served. The bottles are allowed to stand for 3 or 4 days in a temperate room, without being touched. When sufficient time has been allowed for thorough set- tling, the color, transparency, and con- sistency of the samples are carefully ob- served, and also the quantity and nature of any precipitate which may have settled out. A note should also be made of the date for future reference. Natu- rally the drier which has colored the oil least and left it most clean and thin, and which shows the smallest precipitate, is the most suitable for general use. The next important test is that of drying power, and is carried out as follows: A few drops of the sample are placed on a clear, clean glass plate, 4x6 inches, and rubbed evenly over with the fingers. The plate is then placed, clean side up, in a sloping position with the upper edge resting against a wall. In this way any excess of oil is run off and a very thin equal layer is obtained. It is best to start the test early in the morning as it can then be watched throughout the day. It should be remarked tliat the time from the "tacky" stage to complete dry- ness is usually very short, so that the ob- server must be constantly on the watch. If a good drier has been used, the time may be from 4 to 5 hours, and should not be more than 12 or at the very highest SIGN CLEANING— SILVER 639 15. The bleaching of the layer should also be noted. Many of the layers, even after they have become as dry as they seem capable of becoming, show a slight stickiness. These tests should be set aside in a dust-free place for about 8 days, and then tested with the finger. SIGN LETTERS: To Remove Black Letters from White Enameled Signs. — It frequently hap- pens that a change has to be made on such signs, one name having to be taken off and another substituted. Priming with white lead followed by dull and glossy zinc white paint always looks like a daub and stands out like a pad. Lye, glass paper or steel chips will not attack the burned-in metallic enamel. The quickest plan is to grind down carefully with a good grindstone. SIGN -LETTER CEMENTS: See Adhesives, under Cements. SIGNS, TO REPAIR ENAMELED: See Enamels. SILK: Artificial "Rubbered" Silk.— A solu- tion of caoutchouc or similar gum in acetone is added, in any desired propor- tion, to a solution of nitro-cellulosc in acetone, and the mixture is made into threads by passing it into water or other suitable liquid. The resulting threads are stated to be very brilliant in appear- ance, extremely elastic, and very resistant to the atmosphere and to water. The product is not more inflammable than natural silk. Artificial Ageing of Silk Fabrics. ^ — To give silk goods the appearance of age, exposure to the sun is the simplest way, but as this requires time it cannot always be employed. A quicker method con- sists in preparing a dirty-greenish liquor of weak soap water, with addition of a little blacking and gamboge solution. Wash the silk fabric in this liquor and dry as usual, without rinsing in clean water, and calender. Bleaching Silk. — The Lyons process of bleaching skeins of silk is to draw them rapidly through a sort of aqua regia bath. This bath is prepared by mixing 5 parts of hydrochloric acid with-i of nitric, leaving the mixture for 4 or 5 days at a gentle heat of about 77° F., and then diluting with about IS times its volume of water. This dilution is effected in large tanks cut from stone. The tem- perature of the bath should be from 68° to 85° F., and the skeins should not be in it over 15 minutes, and frequently not so long as that; they must be Kept in motion during all that time. When taken out, the silk is immediately im- mersed successively in 2 troughs of water, to remove every trace of the acid, after which they are dried. Hydrogen peroxide is used as a silk bleach, the silk being first thoroughly washed with an alkaline soap and ammo- nium carbonate to free it of its gummy matter. After repeated washings in the peroxide (preferably rendered alkaline with ammonia and soda), the silk is "blued" with a solution of blue aniline in alcohol. Washing of Light Silk Goods. — The best soap may change delicate tints. The following method is therefore pref- erable: First wash the silk tissue in warm milk. Prepare a light bran infusion, which is to be decanted, and after resting for a time, passed over the fabric- It is then rinsed in this water, almost cold. It is moved about in all directions, and afterwards dried on a napkin. SILK SENSITIZERS FOR PHOTO- GRAPHIC PURPOSES: See Photography, under Paper-Sen- sitizing Processes. Silver Antique Silver (see also Plating). — Coat the polished silver articles wiui a thin paste of powdered graphite, 6 parts; pow- dered bloodstone, 1 part; and oil of tur- pentine. After the drying take off the superfluous powder with a soft brush and rub the raised portions bright with a linen rag dipped in spirit. By treatment with various sulphides an old appearance is likewise imparted to silver. If, for ex- ample, a solution of 5 parts of liver of sul- phur and 10 parts of ammonium carbonate are heated m 1 quart of distilled water to 180° F., placing the silver articles therein, the latter first turn pale gray, then dark gr^y, and finally assume a deep black-blue. In the case of plated ware, the silvering must not be too thin; in the case of thick silver plating or solid , silver 1 quart of water is sufficient. The colors will then appear more quickly. If the coloring is spotted or otnerwise imperfect dip the objects into a warm potassium cyanide solution, whereby the silver sulphide formed is immediately 640 SILVER dissolved. Ine bath must be renewed after a while. Silver containing much copper is subjected, previous to the col- oring, to a blanching process, which is accomplished in a boilmg solution of 15 parts of powdered tartar and 30 parts of cooking salt in 2 pints of water. Ob- jects which are to be mat are coated with a paste of potash and water after the blanching, then dry, anneal, cool in water, and boil again. Imitation of Antique Silver. — Plated articles may be colored to resemble old objects of art made of solid silver. For this purpose the deep-lying parts, those not exposed to friction, are provided with a blackish, earthy coating, the promi- nent parts retaining a leaden but bright color. The process is simple. A thin paste is made of finely powdered graphite and oil of turpentine (a little blood- stone or red ocher may be added, to imi- tate the copper tinge in articles of old silver) and spread over the whole of the previously plated article. It is then allowed to dry, and the particles not ad- hering to the surface removed with a soft brush. The black coating should then be carefully wiped off the exposed parts by means of a linen rag dipped in alco- hol. This process is very eifective in making imitations of objects of antique art, such as goblets, candlesticks, vessels of every description, statues, etc. If it is desired to restore the original bright- ness to the object, this can be done by washing with caustic soda or a solution of cyanide of potassium. Benzine can also be used for this purpose. Blanching Silver. — I. — Mix pow- dered charcoal, 3 parts, and calcined borax, 1 part, and stir with water so as to make a homogeneous paste. Apply this paste on the pieces to be blanched. Put the pieces on a charcoal fire, taking care to cover them up well; when they have acquired a cherry red, withdraw them from the fire and leave to cool off. Next place them in a hot bath composed of 9 parts of water and 1 part of sul- phuric acid, without causing the bath to boil. Leave the articles in for about 1 hour. Remove them, rinse in clean water, and dry. II. — If the coat of tarnish on the sur- face of the silver is but light and super- ficial, it suffices to rub the piece well with green soap to wash it thoroughly in hot water; then dry it in hot sawdust and pass it through alcohol, finally rub- bing with B, fine cloth or brush. Should the coat resist this treatment, brush with Spanish white, then wash, dry, and pass through alcohol. The employment of Spanish white has the drawback of shining the silver if the application is strong and prolonged. If the oxidation has withstood these means and if it is desired to impart to the chain the hand- some mat appearance of new goods, it should be annealed in charcoal dust and passed through vitriol, but this operation, for those unused to it, is very dangerous to the soldering and consequently may spoil the piece. Coloring Silver. — A rich gold tint may be imparted to silver articles by plung- ing them into dilute sulphuric acid, saturated with iron rust. Frosting Polished Silver. — Articles of polished silver may be frosted by putting them into a bath of nitric acid diluted with an equal volume of distilled water and letting them remain a few minutes. A better effect may be given by dipping the article frequently into the bath until the requisite degree of frosting has been attained. Then rinse and place for a few moments in a strong bath of potas- sium cyanide; remove and rinse. The fingers must not be allowed to touch the article during either process. It should be held with wooden forceps or clamps. Fulminating Silver.— Dissolve 1 part of fine silver in 10 parts of nitric acid of 1.36 specific gravity at a moderate heat; pour the solution into 20 parts of spirit of wine (85 to 90 per cent) and heat the liquid. As soon as the mixture begins to boil, it is removed from the fire and left alone until cooled oft. The fulmiuic silver crystallizes on cooling in very fine needles of dazzling whiteness, which are edulcorated with water and dried care- fully in the air. Hollow Silverware.— A good process for making hollow figures consists in covering models of the figures, made of a base or easily soluble metal, with a thin and uniform coating of a nobler metal, bv means of the electric current in such a way that this coating takes approximate- ly the shape of the model, the latter being then removed by dissolving it with acid. The model is cast from zinc in one or more pieces, a well-chased brass mold being used for this purpose, and the separate parts are then soldered together with an easily fusible solder. The figure is then covered with a galvanized coatin — Copper 58 parts Zinc 42 parts II. — ^Sheet brass. . . 85.42 parts Zinc 13.38 parts Karmarsch's Composition. — III. — Brass 7 parts Zinc 1 part IV. — Zinc 49 parts Copper 44 parts Tin 4 parts Lead 2 parts Prechtl's Composition. — V. — Copper 53.3 parts Zinc 43.1 parts Tin 1.3 parts Lead 0.3 parts All these hard-solder compositions have the 'fine yellow color of brass, arc very hard, and can be fused only at high temperatures. They are well adapted for all kinds of iron, steel, copper, and bronze. Solders which fuse at somewhat lower temperatures and, therefore, well adapted for the working of bras?, are the follow- ing: VI. — Sheet brass. . . 81.12 parts Zinc 18.88 parts VII. — Copper 54.08 parts Zinc. , 45.29 parts VIII. — Brass 3 to 4 parts Zinc 1 part A solder which is valuable because it can be wrought with the hammer, rolled out, or drawn into wire, and because it is tough and ductile, is the following: IX. — Brass 78.26 parts Zinc 17.41 parts Silver 4.33 parts Fusible White Solder.— X- — Copper 57.4 parts Zinc 28 parts Tin 14.6 parts Easily Fusible Solders. — XI. — Brass 5 parts Zinc 2.5 parts XII. — Brass 5 parts Zinc 5 parts Semi-White Hard Solders. — XIII. — Copper 53.3 parts Zinc 46.7 parts XIV. — Brass 12 parts Zinc 4 to 7 parts Tin 1 part XV. — Brass 32 parts Zinc 10 parts Tin 1 part XVI. — ^Copper 44 parts Zinc 49 parts Tin 3.20 parts Lead 1.20 parts Formulas XIII and XVI are fably fusible. White Hard Solders.— XVII. — Brass 20 parts Zinc 1 part Tin 4 parts X^VIIL— Copper 58 parts Zinc 17 parts Tm 15 parts XIX. — Brass li parts Zinc 1 part Tin 2 parts SOLDERS 659 XX. — Brass 6 parts Zinc 4 parts Tin 10 parts XXI. — Copper 57.44 parts Zinc 27.98 parts Tin 14.58 parts For Brass Tubes. — I. — Copper, 100 parts; lead, 25 parts. II. — A very strong solder for soldering brass tubes to be drawn, etc., is com- posed of 18 parts brass, 4 parts zinc, and 1 part fine silver. For Fastening Brass to Tin.— To 20 parts of fine.reduced copper, add suffi- cient sulphuric acid to make a stiff paste. To this add 70 parts of metallic mercury, and work in, at the same time applying heatuntil the mass assumes a wax-like consistency, Warm or heat the plates to be united, to about the same tempera- ture, apply the mixture, hot, to each, then press together, and let cool. COPPER SOLDERS. The copper solders which are used for soldering copper as well as bronze are mixtures of copper and lead. By in- creasing the quantity of lead the fusi- bility is increased, but the mixture de- parts from the color and toughness of copper. The most commonly employed copper solder is the following: I. — Copper 5 parts Lead 1 part 11. — Copper 80 parts Lead 15 parts Tin 5 parts For Red Copper. — I. — Copper, 3 parts; .zinc, 1 part. II. — Copper, 7 parts; zinc, 3 parts; tin, 2 parts. FATS FOR SOLDERING. I. — Soldering fat or grease is com- monly a mixture of rosin and tallow with the addition of a small quantity of sal ammoniac. It is particularly adapted to the soldering of tinned ware, because it is easily wiped off the surface after the joint is made, whereas if rosin were used alone, the scraping away might remove some of the tin and spoil the object. I II. — The following is a well-tried recipe for a soldering grease: In a pot of sufficient size and over a slow fire melt together 500 parts of olive oil and 400 parts of tallow; then stir in slowly 250 parts of rosin in powder, and let the whofe boil up once. Now let it cool down, and add 125 parts of saturated solution of sal ammoniac, stirring the while. When cold, this preparation will be ready for use. FLUIDS FOR SOLDERING. I. — To the ordinary zinc chloride, prepared by digesting chips of zinc in strong hydrochloric acid to saturation, add § spirits of sal ammoniac and J part rain water, and filter the mixture. This soldering liquid is especially adapted to the soft soldering of iron and steel, be- cause it does not make rust spots. To solder zinc, the zinc chloride may be used without any spirit sal ammoniac. n. — Mix phosphoric acid with strong spirits of wine in the following propor- tions: Phosphoric acid solu- tion 1 quart Spirits of wine (80 per cent) 1 J quarts More or less of the spirits of wine is used depending upon the concentration of the phosphoric acid solution. When this soldering liquid is applied to the metal to be soldered, the phosphoric acid immediately dissolves the oxide. The hot soldering iron vaporizes the spirits of wine very quickly and causes the oxide released by the phosphoric acid to form a glazed mass with the surplus phosphoric acid, which mass can be easily removed. III. — Dissolve in hydrochloric acid: Zinc, 50 parts (by weight); sal am- moniac, 60 parts. IV. — Hydrochloric acid, 600 parts (by weight); sal ammoniac, 100 parts. Put zinc chips into the acid to saturation, next acid the sal ammoniac. Filter when dissolved and preserve in flasks. V. — Eight hundred parts of water with 100 parts of lactic acid and 100 parts of glycerine. This dispenses with the use of chloride of zinc. Acid-Free Soldering Fluid.— I. — Five parts of zinc chloride dissolved in 25 parts of boiling water. Or, 20 parts of zinc chloride, 10 parts of ammonia chloride, dissolved in 100 parts of boil- ing water and put into glass carboys. II. — Chloride zinc 1 drachm Alcohol 1 ounce Substitute for Soldering Fluid. — As «, substitute for the customary soldering fluid and soldering mediums an am- monia soap is recommended, which is obtained by the mixture of a finely pow- dered rosin with strong ammonia solu- tion. Of this soap only the finely divided 660 SOLDERS rosin remains on the soldered place after the soldering. This soldering process is well adapted for soldering together copper wires for electrical conduits, since the rosin at the same time serves as an insulator. FLUXES FOR SOLDERING. The fluxes generally used in the soft- soldering of metals are powdered rosin or a solution of chloride of zinc, alone or combined with sal ammoniac. A neutral soldering liquid can be prepared by mixing 27 parts neutral zinc chloride, 11 parts sal ammoniac, and 62 parts water; or, 1 part sugar of milk, 1 part glycerine, and 8 parts water. A soldering fat for tin-plate, preferable to ordinary rosin, as it can be more easily removed after soldering, is prepared as follows: One hundred and fifty parts beef tallow, 250 parts rosin, and 150 parts olive oil are melted together in a crucible and well stirred, 50 parts powdered sal ammoniac dissolved in as little water as possible being added. Soldering fat for iron is composed of 50 parts olive oil and 50 parts powdered sal ammoniac. Soldering fat for al- uminum is made by melting together equal parts of rosin and tallow, half the quantity of zinc chloride being added to tne mixture. Soldering paste consists of neutral soldering liquid thickened with starch paste. This paste must be applied more lightly than the soldering liquid. Soldering salt is prepared by mixing equal parts of neutral zinc chloride, free from iron, and powdered sal ammoniac. When required for use, 1 part of the salt should be dissolved in 3 or 4 parts water. Borax is the flux most frequently used for hard-soldering; it should be applied to the soldering seam either dry or stirred to a paste with water. It is advisable to use calcined borax, i. e., borax from which the water of crystallization has been driven out by heat, as it does not become so inflated as ordinary borax. Borax dissolves the metallic oxides form- ing on the joint. Finely powdered cryolite, or a mixture of 2 parts powdered cryolite and 1 part phosphoric acid, is also used for hard- soldering copper and copper alloys. MuUer's nard-soldering liquid con- sists of equal parts of phosphoric acid and alcohol (80 per cent). A mixture of equal parts of cryolite and barium chloride is used as a flux in hard-soldering aluminum bronze. A very good dry-soldering preparation consists of two vials, one of which is filled with zinc chloride, and the other with ammonium chloride. To use, dissolve a little of each salt in water, apply the ammonium chloride to the object to be soldered and heat the latter until it begins to give off vapor of ammonium, then apply the other, and immediately thereafter the solder, maintaining the heat in the meantime. This answers for very soft solder. For a hard«r solder dissolve the zinc in a very small por- tion of the ammonium chloride solution (from i to J pint). When steel is to be soldered on steel, or iron on steel, it is necessary to remove every trace of oxide of iron between the surfaces in contact. Melt in an earthen vessel: Borax, 3 parts; colophony, 2 parts; pulverized glass, 3 parts; steel filings, 2 parts; carbonate of potash, 1 part; hard soap, powdered, 1 part. Flow the melted mass on a cold plate of sheet ' iron, and after cooling break up the pieces and pulverize them. This powder IS thrown on the surfaces a few minutes before the pieces to be soldered are brought together. The borax and glass contained in the composition dissolve, and consequently liquefy all of the im- purities, which, if they were shut up between the pieces soldered, might form scales, at times dangerous, or interfering with the resistance of the piece. To prepare rosin for soldering bright tin, mix 1 J pounds of olive oil, 1 J pounds of tallow, and 12 ounces of pulverized rosin, and let them boil up. When this mixture has become cool, add IJ pints of water saturated with pulverized sal ammoniac, stirring constantly GAS SOLDERING. The soldering of small metallic articles where the production is a wholesale one, is almost exclusively done by the use of gas, a pointed flame being produced by air pressure. The air pressure is ob- tained by the workman who does the soldering setting in motion a treadle with his foot, which, resting on rubber bellows, drives by pressure on the same the aspirated air into wind bellows. From here it is sent into the soldering pipe, where it is connected with the gas and a pointed flame is produced. In order to obtain a rather uniform heat the workman has to tread continually, which, however, renders it almost im- possible to hold the article to be soldered steady, although this is necessary if the work is to proceed quickly. Hence, absolutely skillful and expensive hands are required, on whom the employer is often entirely dependent. To improve SOLDERS 661 this method of soldering and obviate its drawbacks, the soldering may be con- ducted with good success in the following manner: For the production of the air current a small ventilator is set up. The wind is conducted through two main con- duits to the work tables. Four or six tables may, for instance, be placed to- gether, the wind and the gas pipe end- ing in the center. The gas is admitted as formerly, the wind is conducted into wind bellows by means of joint and hose to obtain a constant pressure and from here into the soldering pipe. In this manner any desired flame may be pro- duced, the workman operates quietly and without exertion, which admits of employing youthful hands and consequently of a saving in wages. The equipment is considerably cheaper, since the rubber bellows under the treadle are done away with. GERMAN-SILVER SOLDERS. Because of its peculiar composition German-silver solder is related to the ordinary hard solders. Just as hard solders may be regarded as varieties of brass to which zinc has been added, German-silver solders may be regarded as German silver to which zinc has been added. The German-silver solder be- comes more easily fused with an increase in zinc, and vice versa. If the quantity of zinc be increased beyond a certain proportion, the resultant solder becomes too brittle. German-silver solders are characterized by remarkable strength, and are therefore used not only in sol- dering German silver, but in many cases where special strength is required. As German silver can be made of the color of steel, it is frequently used for solder- ing fine steel articles. Solder for ordinary German silver can be made of 1,000 parts German-silver chips, 125 parts sheet-brass chips, 142 parts zinc, and 33 parts tin; or, of 8 parts German silver and 2 to 3 parts zinc. Soft German-Silver Solder. — I. — Copper 4.5 parts Zinc 7 parts Nickel 1 part II. — Copper 35 parts Zinc 56.5 parts Nickel 8.5 parts III. — German silver 5 parts Zinc 5 parts Compositions I and II have analo- gous properties. _ In composition III "German silver" is to be considered as a mixture of copper, zinc, and nickel, for which reason it is necessary to know the exact composition of the German silver to be used. Otherwise it is advisable to experiment first with small quantities in order to ascertain how much zinc is to be added. The proper proportion of German silver to zinc is reached when the mixture reveals a brilliancy and condition which renders it possible to barely pulverize it while hot. A small quantity when brought in contact with the soldering iron should just fuse. Hard German-Silver or Steel Solder. — I. — Copper 35 parts Zinc 56.5 parts Nickel 9.5 parts H. — Copper 38 parts Zinc 50 parts Nickel 12 parts Composition I requires a fairly high temperature in order to be melted. Composition II requires a blow pipe. GOLD SOLDERS: Hard Solder for Gold.— The hard solder or gold solder which the jeweler frequently requires for the execution of various works, not only serves for solder- ing gold ware, but is also often employed for soldering fine steel goods, such as spectacles, etc. Fine gold is only used for soldering articles of platinum. The stronger the alloy of the gold, the more fusible must be the solder. _ Generally the gold solder is a composition of gold, silver, and copper. If it is to be very easily fusible, a little zinc may be added, but, on the other hand, even the copper is sometimes left out and a mixture con- sisting only of gold and silver (e. g., equal parts of both) is used. The shade of the solder also requires attention, which must be regulated by varying proportions of silver and copper, so that it may be as nearly as possible the same as that of the gold to be soldered. I. — For 24-carat gold: Twenty-two parts gold (24 carat), 2 parts silver, and 1 part copper; refractory. II. — For 18-carat gold: Nine parts gold (18 carat), 2 parts silver, and 1 part copper; refractory. III. — For 16-carat gold: Twenty-four parts gold (16 carat), 10 parts silver, and 8 parts copper; refractory. IV. — For 14-carat gold: Three parts gold (14 carat), 2 parts silver, and 1 part copper; more fusible. v.— Gold solder for alloys containing smaller quantities of gold is composed 662 SOLDERS of 8 parts gold, 10.5 parts silver, and 6.5 parts copper, or, VI.— Ten parts gold (13.6 carat), 6 parts silver, and 1 part zinc. VII. — The following easily fusible solder is used for ordinary gold articles: Two parts gold, 9 parts silver, 1 part copper, and 1 part zinc. Articles soldered with this solder cannot be subjected to the usual process of coloring the gold, as the solder would beconae black. VIII. — A refractory enamel solder for articles made of 20-carat and finer gold, which can bear the high temperature required in enameling, consists of 37 parts gold and 9 parts silver, or 16 parts gold (18 carat), 3 parts silver, and 1 part copper. which of these compositions should be employed depends upon the degree of the fusibility of the enamel to be ap- plied. If it is very difficult of fusion only the first named can be used; other- wise it may happen that during the melting on of the enamel the soldering spots are so strongly heated that the solder itself melts. For ordinary articles, as a rule, only readily fusible enamels are employed, and consequently the readily fusible enameling solder may here be made use of. Soldering with the latter is readily accomplished with the aid of the soldering pipe. Although the more hardly fusible gold solders may also be melted by the use of the ordinary soldering pipe, the employment of a special small blowing apparatus is recommended on account of the resulting ease and rapidity of the work. SOLDERS FOR GLASS. I. — -Melt tin, and add to the melted mass enough copper, with constant stir- ring, until the melted metal consists of 96 per cent of tin and 5 per cent of copper. In order to render the mixture more or less hard, add J to 1 per cent of zinc or lead. II. — A compound of tin (95 parts) and zinc (5 parts) melts at 392° F., and can then be firmly united to glass. An alloy of 9fly parts of tin and 10 parts of aluminum melts at 734° F., adheres, like the preceding, to glass, and is equally brilliant. With either of these alloys glass may be soldered as easily as metal, in two ways. In one, heat the pieces of glass in a furnace and rub a stick of soldering alloy over their surfaces. The alloy will melt, and can be easily spread by means of a roll of paper or a slip of aluminum. Press the pieces firmly to- gether, and keep so until cool. In the other, method a common soldering iron, or a rod of aluminum, is heated over a coal fire, a gas jet, or a flame supplied by petroleum. The hot iron is passed over the alloy and then over the pieces to be soldered, without the use of a dis- solvent. Care should be taken that neither the soldering irons nor the glass be brought to a temperature above the melting point of the alloy, lest the latter should be oxidized, and prevented from adhering. HARD SOLDERS. Hard solders are distinguished as brass, German silver, copper, gold, silver, etc., according to the alloys used (see Brass Solders, Copper Solders, etc., for other hard solders). The designation "hard solder" is used to distinguish it from the easily running and softer solder used by tin- smiths, and it applies solely to a com- gosition that will not flow under a red eat. For the purposes of the jeweler solder may be classified according to its composition and purpose, into gold or silver solder, which means a solder con- sisting of _ an alloy of gold with silver, copper, tin, or zinc-like metal or an alloy of silver with copper, tin, or zinc- like metal. According to the uses, the solder is made hard or soft; thus in gold solders there is added a greater amount of silver, whereas for silver solders there is added more tin or zinc-like metal. In the production of solder for the enameler's use, that is for combining gold with gold, gold with silver, or gold with copper, which must be enameled afterwards, it is necessary always to keep in mind that no solder can be used effectually that contains any tin, zinc, zinc alloys, or tin or zinc-like metals in any great quantities, since it is these very metals that contribute to the cracking of the enamel. Yet it is not possible to do without such an addition entirely, other- wise the solder would not flow under the melting point of the precious metals themselves and we should be unable to effect a union of the parts. It is there- •fore absolutely necessary to confine these additions to the lowest possible per- centage, so that only a trace is apparent. Moreover, care must be taken to use for enameling purposes no base alloy, be- cause the tenacity or durability of the compound will be affected thereby; in other words, it must come up to the standard. In hard soldering with borax, direct, several obstacles are encountered that make the process somewhat difficult. In SOLDERS 663 the first place the salt forms great bubbles in contact with the soldering iron, and easily scales away from the surface of the parts to be soldered. Besides this, the parts must be carefully cleaned each time prior to applying the salt. All these dif- ficulties vanish if instead of borax we use its component parts, boric acid and sodium carbonate. The heat of the soldering iron acting on these causes them to combine in such a way as to produce an excellent flux, free from the difiiculties mentioned. Composition of Various Hard Solders. — Yellow solders for brass, bronze, cop- per, and iron: < I. — Sheet-brass chips, 5 parts, and zinc, 3 to 5 parts, easily fusible. 11.^ — Sheet brass chips, 3 parts, and zinc, 1 part; refractory. III. — Sheet-brass chips, 7 parts, and zinc, 1 part; very refractory and firm. Semi-white solders, containing tin and consequently harder: I. — Sheet brass, 12 parts; zinc, 4 to 7 parts, and tin, 1 part. II. — Copper, 16 parts; zinc, 16 parts, and tin, 1 part. III. — Yellow solder, 20 to 30 parts, and tin, 1 part. White solders: I.^Sheet brass, 20 parts; zinc, 1 part, and tin, 4 parts. II. — Copper, 3 parts; zinc, 1 part, and tin, 1 part. To Hard-Solder Parts Formerly Sol- dered with Tin Solder. — To repair gold or silver articles which have been spoiled with tin solder proceed as follows: Heat- ing the object carefully by means a of small spirit lamp, brush the tin off as much as possible with a chalk brush; place the article in a diluted solution of hydrochloric acid for about 8 to 10 hours, as required. If much tin re- mains, perhaps 12 hours may be neces- sary. Next withdraw it, rinse off and dry; whereupon it is carefully annealed and finally put in a pickle of dilute sulphuric acid, to remove the annealing film. When the article has been dipped, it may be hard soldered again. SILVER SOLDERS. Silver solder is cast in the form of ingots, which are hammered or rolled into thin sheets. From these small chips or "links," as they are called, are cut off. The melted solder can also be poured, when slightly cooled, into a dry iron mor- tar and pulverized while still warm. The solder can also be filed and the filings used for soldering. Silver solders are used not only for soldering silver objects, but also for soldering metals of which great resist- ance is expected. A distinction must be drawn between .silver solder consisting either of copper and silver alone, and silver solder to which tin has been added. Very Hard Silver Solder for Fine Silverware. — I. — Copper 1 part Silver 4 parts Hard silver solder. II. — Copper 1 part Silver 20 parts Brass 9 parts III. — Copper 2 parts Silver 28 parts Brass 10 parts Soft silver solder. IV. — Silver 2 parts Brass 1 part V. — Silver 3 parts Copper 2 parts Zinc 1 part VI. — Silver 10 parts Brass 10 parts Tin 1 part These solders are preferably to be employed for the completion of work begun with hard silver solders, defective parts alone being treated. For this purpose it is sometimes advi-sable to use copper-silver alloys mixed with zinc, as for example: VII. — Silver 12 parts Copper 4 parts Zinc 1 part VIII.— Silver 5 parts Brass 6 parts Zinc 2 parts This last formula (VIII) is most com- monly used for ordinary silverware. Silver Solders for Soldering Iron, Steel, Cast Iron, and Copper. — I. — Silver 10 parts Brass 10 parts II. — Silver 20 parts Copper 30 parts Zinc 10 parts III. — Silver 30 parts Copper 10 parts Tin 0.6 parts IV. — Silver., 60 parts Brass 60 parts Zinc 5 parts 664, SOLDERS In those solders in which brass is used care should be taken that none of the metals employed contains iron. Even an inappreciable amount of iron dele- teriously affects the solder. V. — Copper, 30 parts; zinc, 12.85 parts; silver, 57.15 parts. VI. — Copper, 23.33 parts; zinc, 10 parts; silver, 66.67 parts. VII. — Copper, 26.66 parts; zinc, 10 parts; silver, 63.34 parts. VIII. — Silver, 66 parts; copper, 24 parts, and zinc, 10 parts. This very strong solder is frequently used for soldering silver articles, but can also be used for soldering other metals, such as brass, copper, iron, steel band-saw blades, etc. IX. — Silver, 4 parts, and brass, 3 parts. X. — A very refractory silver solder, which, unlike the silver solder containing zinc, is of great ductility and does not break when hammered, is composed of 3 parts silver and 1 part copper. Soft Silver Solders. — I. — A soft silver solder for resoldering parts already soldered is made of silver, 3 parts; cop- per, 2 parts, and zinc, 1 part. II. — Silver, 1 part, and brass, 1 part; or, silver, 7 parts; copper, 3 parts, and zinc, 2 parts. III. — A readily fusible silver solder for ordinary work: Silver, 5 parts; copper, 6 parts, and zinc, 2 parts. IV.— (Soft.) Copper, 14.75 parts; zinc, 8.20 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. French Solders for Silver. — I. — For fine silver work: Fine silver, 87 parts; brass, 13 parts. II. — For work 792 fine: Fine silver, 83 parts; brass, 17 parts. III. — For work 712 fine: Fine silver, 75 parts; brass, 25 parts. IV. — For work 633 fine: Fine silver, 66 parts; brass, 34 parts. V. — For work 572 fine: Fine silver, 65 parts; brass, 45 parts. Solder for Silversmiths, etc. — Gold, 10 parts; silver, 55 parts; copper, 29 parts; zinc, 6 parts. Hard Solder. — Silver, 60 parts; bronze, 39 parts; arsenic, 1 part. Soft Solder. — Powdered copper, 30 parts; sulphate of zinc, 10 parts; mer- cury, 60 parts; sulphuric acid. Put the copper and the zinc sulphate in a porcelain mortar, and then the sulphuric acid. Enough acid is required to cover the composition; next add the mercury while stirring constantly. When the amalgamation is effected, wash several times with hot water to remove the acid, then allow to cool. For use, it is suffi- cient to heat the amalgam until it takes the consistency of wax. Applv on the parts to be soldered and let cool. Solder for Silver-Plated Work. — I. — Fine silver, 2 parts; bronze, 1 part. II. — Silver, 68 parts; copper, 24 parts; zinfc, 17 parts. Solder for Silver Chains. — I. — Fine "silver, 74 parts; copper, 24 parts; orpi- ment, 2 parts. II. — Fine silver, 40 parts; orpiment, 20 parts; copper, 40 parts. SOFT SOLDERS: See also Brass Solders, Copper Solders, Gold Solders. I. — Fifty parts bismuth, 25 parts tin, and 25 parts lead. This mixture melts at 392° F. II. — Fifty parts bismuth, 30 parts lead, and 20 parts tin. This will melt at 374° F. III. — The solder that is used in solder- ing Britannia metal and block tin pipes is composed of 2 parts tin and 1 part lead. This melts in the blow-pipe flame at many degrees lower temperature than either tin or Britannia metal, and it is nearly of the same color. Care must be taken in mixing these solders to keep them well stirred when pouring into molds. Care should also be taken mat the metal which melts at a higher tempera- ture be melted first and then allowed to cool to the melting temperature of the next metal to be added, and so on. Articles to be soldered with these solders should be joined with a blow pipe to get the best results, but if a copper is used it must be drawn out to a long, thin point. For a flux use powdered rosin or sweet oil. Tin solders for soldering lead, zinc, tin, tin-plate, also copper and brass when special strength is not required, are pre- pared as follows: I. — Tin, 10 parts; lead, 4 parts; melt- ing point, 356° F. II. — Tin, 10 parts; lead, 5 parts; melt- ing point, 365° F. III. — Tin, 10 parts; lead, 6 parts; melting point, 374° F. SOLDERS 665 IV. — Tin, 10 parts; lead, 10 parts; melting point, 392° F. V. — Tin, 10 parts; lead, 15 parts; melting point, 432° F. VI. — Tin, 10 parts; lead, 20 parts; melting point, 464° F. The last of the above mixtures is the cheapest, on account of the large quantity of lead. Bismuth solder or pewterer's solder fusible at a low temperature is prepared by melting together: I. — Tin, 2 parts; lead, 1 part; bismuth, 1 part; melting point, 266° F. II. — Tin, 3 parts; lead, 4 parts; bis- muth, 2 parts; melting point, 297° F. III. — Tin, 2 parts; lead, 2 parts; bis- muth, 1 part; melting point, 320° F. STEEL SOLDERING. Dissolve scraps of cast steel in as small a quantity as possible of nitric acid, add finely pulverized borax and stir vigor- ously until a fluid paste is formed, then dilute by means of sal ammoniac and Eut in a bottle. When soldering is to e done, apply a thin layer of the solu- tion to the two parts to be soldered, and when these have been carried to or- dinary redness, and the mass is con- sequently plastic, beat lightly on the anvil with a flat nammer. This recipe is useful for cases when the steel is not to be soldered at an elevation of temperature to the bright red. To Solder a Piece of Hardened Steel. — To hard-solder a piece of hardened steel such as index (regulator), stop spring (in the part which is not elastic), click, etc., take a very flat charcoal if the piece is difficult to attach; hard-solder and as soon as the soldering has been done, plunge the piece into oil. All that re- mains to be done is to blue it again and to polish. Soldering Powder for Steel. — Melt in an earthen pot 3 parts of borax, 2 of col- ophony, 1 of potassium carbonate, as much powdered hard soap, to which must be added 3 parts of finely powdered glass and 2 parts of steel filings. The melted mass is run out upon a cold plate of sheet iron, and when it is completely chilled it is broken into small bits or finely powdered. To solder, it is neces- sary to sprinkle the powder on the sur- faces to be joined several minutes be- fore bringing them together. Soldering Solution for Steel.— A sol- dering solution for steel that will not rust or blacken the work is made of 6 ounces alcohol, 2 ounces glycerine, and 1 ounce oxide of zinc. PLATINUM SOLDERS. There are many platinum solders in existence, but the main principle to be borne in mind in jewelry work is that the soldering seam should be as little perceptible as possible; the solder, there- fore, should have the same color as the alloy. I. — A platinum solder which meets these requirements very satisfactorily is composed of 9 parts gold and 1 part palladium; or, 8 parts gold and 2 parts palladium. II. — The following is a readily fusible platinum solder: Fine silver, 1.555 parts, and pure platinum, 0.683 parts. This melts easily in the ordinary draught fur- nace, as well as before the soldering pipe on a piece of charcoal. Of similar action is a solder of the following com- position, which is very useful for places not exposed to the view: III. — Pine gold, 1.555 parts; fine sil- ver, 0.65 parts; and pure copper, 0.324 parts. SOLDER FOR IRON: See also under Silver Solders. Copper, 67 parts; zinc, 33 parts; or, copper, 60 parts; zinc, 40 parts. TIN SOLDERS: See also Soft Solders. Gold jewelry which has been rendered unsightly by tin solder may be freed from tin entirely by dipping the article for a few minutes into the following solution and then brushing off the tin: Pulverize 2 parts of green vitriol and 1 part of saltpeter and boil in a cast-iron pot with 10 parts of water until the larger part of the latter has evaporated. The crystals forming upon cooling are dissolved in hydrochloric acid (8 parts of hydrochloric acid to 1 part of crystals). If the articles in question have to be left in the liquid for some time, it is well to dilute it with 3 or 4 parts of water. The tin solder is dissolved by this solu- tion without attacking or damaging the article in the least. VARIOUS RECIPES FOR SOLDERING: To Conceal Soldering. — Visible solder- ing may be obviated by the following methods: For copper goods a concen- trated solution of blue vitriol is prepared and applied to the places by means of an iron rod or iron wire. The thickness of 666 SOLDERS the layer may be increased by a repeti- tion ot the process. In order to give the places thus coppered the appearance of the others, use a saturated solution of zinc vitriol, 1 part, and blue vitriol, 2 parts, and finish rubbing with a piece of zinc. By sprinkling on gold powder and sub- sequently polishing, the color is rendered deeper. In the case of gold articles the places are first coppered over, then cov- ered with a thin layer of fish glue, after which bronze filings are thrown on. When the glue is dry rub off quickly to produce a fine polish. The places can, of course, also be electro-gilt, whereby a greater uniformity of the shade is obtained. In silver objects, the soldering seams, etc., are likewise coppered in the above-de- scribed manner; next they are rubbed ■with a brush dipped into silver powder and freshly polished. Solder for Articles which will not Bear a High Temperature. — Take powdered copper, the precipitate of a solution of the sulphate by means of zinc, and mix it with concentrated sulphuric acid. According to the degree of hardness re- quired, take from 20 to 30 or 36 parts of copper. Add, while constantly snaking, 70 parts of quicksilver, and when the amalgam is complete, wash with warm water to remove the acid; then allow it to cool. In 10 or 12 hours the composi- tion will be hard enough to scratch tin. For use, warm it until it reaches the consistency of wax, and spread it where needed. When cold it will adhere with great tenacity. Soldering a Ring Containing a Jewel. — I. — Fill a small crucible with wet sand and bury the part with the jewel in the sand. Now solder with soft gold solder, holding the crucible in the hand. The stone will remain uninjured. II. — Take tissue paper, tear it into strips about 3 inches in width, and make them into ropes; wet them thoroughly and wrap the stone in them, passing around the stone and through the ring until the center of the latter is slightly more than half filled with paper, closely wound around. Now fix on charcoal, permitting the stone to protrude over the edge of the charcoal, and solder rapidly. The paper will not only protect the stone, but also prevent oxidation of the portion of the ring which is covered. Soldering without Heat. — -For solder- ing objects without heating, take a large copper wire filed to a point; dip into soldering water and rub the parts to be soldered. Then heat the copper wire and apply the solder, which melts on contact. It may then be applied to the desired spot witnout heating the object. COLD SOLDERING: See also Adhesives and Cements. For soldering articles which cannot stand a high temperature, the following process may be employed: I. — Take powdered copper precipi- tated from a solution of sulphate by means of zinc and mix it in a cast-iron or porcelain mortar with concentrated sulphuric acid. The number of parts of copper varies according to the degree of hardness which it is wished to obtain. Next add, stirring constantly, 70 parts of mercury, and when the amalgam is finished, allow to cool. At the end of 10 to 12 hours the composition is sufficiently hard. For use, heat until it acquires the consistency of wax. Apply to the sur- face. When cool it will adhere with great tenacity. II. — Crush and mix 6 parts of sulphur, 6 parts of white lead, and 1 part of borax. Make a rather thick cement of this powder by triturating it with sul- phuric acid. The paste is spread on the surfaces to be welded, and the articles pressed firmly together. In 6 or 7 days the soldering is so strong that the two pieces cannot be separated, even by striking them with a hammer. Cast-Iron Soldering. — A new process consists in decarbonizing the surfaces of the cast iron to be soldered, the molten hard solder being at the same time brought into contact with the red-hot metallic surfaces. The admission of air, however, should be carefully guarded against. First pickle the surfaces of the pieces to be soldered, as usual, with acid and fasten the two pieces together. The place to be soldered is now covered with a metallic oxygen compound and any one of the customary fluxes and heated until red hot. The preparation best suited for this purpose is a paste made by inti- mately mingling together cuprous oxide and borax. The latter melts in solder- ing and protects the pickled surfaces as well as the cuprous oxide from oxidation through the action of the air. During the heating the cuprous oxide imparts its oxygen to the carbon contained in the cast iron and burns it. Metallic copper separates in fine subdivision. Now apply hard solder to the place to be united, which in melting forms an alloy with the elimi- nated copper, the alloy combining with the decar&urized surfaces of the cast iron. SOLDERS— SPIRIT 667 Soldering Block. — This name is given to a very useful support for hard solder- ing and can be readily made. The in- gredients are: Charcoal, asbestos, and plaster of Paris. These are powdered in equal parts, made into a thick paste with water, and poured into si suitable mold. Thus a sort of thick plate is obtained. When this mass has dried it is removed from the mold and a very thin cork plate is affixed on one surface by means of thin glue. The mission of this plate is to receive the points of the wire clamps with which the articles to be soldered are attached to the soldering block, the as- bestos not affording sufficient hold for them. SOLDERS FOR JEWELERS: See Jewelers' Formulas. SOLDER FROM GOLD, TO REMOVE: See Gold. SOLDERING PASTE. The semi-liquid mass termed solder- ing paste is produced by mixing zinc chloride solution or that of ammonia- zinc chloride with starch paste. For preparing this composition, ordinary potato starch is made with water into a milky liquid, the latter is heated to a boil with constant stirring, and enough of this mass, which becomes gelatinous after cooling, is added to the above-men- tioned solutions as to cause a liquid resembling thin syrup to result. The use of all zinc preparations for soldering presents the drawback that vapors of a strongly acid odor are generated by the heat of the soldering iron, but this evil is offset by the extraordinary convenience afforded when working with these prepar- ations. It is not necessary to subject the places to be soldered to any special cleaning or preparation. All that is re- quired IS to coat them with the soldering medium, to apply the solder to the seam, etc., and to wipe the places with a sponge or moistened rag after the solder has cooled. Since the solder adheres readily with the use of these substances, a skillful workman can soon reach such perfection that he has no, or very little, subsequent polishing to do on the soldering seams. Soft Soldering Paste. — Small articles of any metals that would be very delicate to solder with a stick of solder, especially where parts fit into another and only require a little solder to hold them to- gether, can best be joined with a solder- ing paste. This paste contains the solder and flux combined, and is easily applied to seams, or a little applied be- fore the parts are put together. The soldering flame will cause the tin in the paste _ to amalgamate quickly. The paste is made out of starch paste mixed with a solution of chloride of tin to the consistency of syrup. SOLUTIONS, PERCENTAGE: See Tables. SOOTHING SYRUP: See Pain Killers. SOUP HERB EXTRACT: See Condiments. SOZODONT: See Dentifrices. SPARKS FROM THE FINGER TIPS: See Pyrotechnics. SPATTER WORK: See Lettering. SPAVIN CURES: See Veterinary Formulas. SPECULUM METAL: See Alloys. SPICES, ADULTERATED: See Foods. SPICES FOR FLAVORING: See Condiments. Spirit INDUSTRIAL AND POTABLE ALCO- HOL: SOURCES AND MANUFAC- TURE. Abstract of a Farmers' Bidktin prepared for the United States Department of Agricul- ture by Dr. Harvey W. Wiley. The term "industrial alcohol," or spirit, is used for brevity, and also be- cause it differentiates sharply between alcohol used for beverages or for medicine and alcohol used for technical purposes in the arts. Alcohol Defined. — The term "alcohol" as here used and as generally used means that particular product wliich is obtained by the fermentation of a sugar, or a starch converted into sugar, and which, from a chemical point of view, is a, compound of the hypothetical sub- stance "ethyl" with water, or with that part of water remaining after the separa- tion of one of the atoms of hydrogen. This is a rather technical expression, but it is very difficult, without using technical language, to give a definition of alcohol from the chemical point of view. There are three elementary substances repre- sented in alcohol: Carbon, the chemical symbol of which is C; hydrogen, symbol 668 SPIRIT H; and oxygen, symbol O. These atoms are put together to form common alcohol, or, as it is called, ethyl alcohol, in which preparation 2 atoms of carbon and 5 atoms of hydrogen form the hypothet- ical substance "ethyl," and 1 atom of oxygen and 1 atom of hydrogen form the hydroxyl derived from water. The chemical symbol of alcohol therefore is CjHbOH. Absolutely pure ethyl alcohol is made only with great difficulty, and the purest commercial forms still have as- sociated with them traces of other volatile fjroducts formed at the time of the dis- tillation, chief among which is that group of alcohols to which the name 'fused oil" is applied. So far as in- dustrial purposes are concerned, how- ever, ethyl alcohol is the only com- ponent of any consequence, just as in regard to the character of beverages the ethyl alcohol is the component of least consequence. Sources of Potable Alcohol. — The raw materials from which alcohol is made consist of those crops which con- tain sugar, starch, gum, and cellulose (woody fiber) capable of being easily converted into a fermentable sugar. Alcohol as such is not used as a beverage. The alcohol occurring in distilled bever- ages is principally derived from Indian corn, rye, barley, and molasses. Alcohol is also produced for drinking purposes from fermented fruit juices such as the juice of grapes, apples, peaches, etc. In the production ot alcoholic beverages a careful selection of the materials is re- quired in order that the desired character of drink may be secured. For instance, in the production of rum, the molasses derived from the manufacture of sugar from sugar cane is the principal raw material. In the fermentation of mo- lasses a particular product is formed which by distillation gives the alcohol compound possessing the aroma and flavor of rum. In the making of brandy, only sound wine can be used as the raw niaterial, and this sound wine, when sub- jected to distillation, gives a product con- taining the same kind of alcohol as that found in rum, but associated with the products of fermentation which give to the distillate a character entirely dis- tinct and separate from that of rum. Again, when barley malt or a mixture of barley malt and rye is properly mashed, fermented, and subjected to distilla- tion, a product is obtained which, when properly concentrated and aged, becomes potable malt or rye whisky. In a sim- ilar manner, if Indian corn and bar- ley malt are properly mashed, with a small portion of rye, the mash fermented and subjected to distillation, and the distillate properly prepared and aged, the product is known as Bourbon whisky. Thus, every kind of alcoholic beverage gets its real character, taste, and aroma, not from the alcohol which it contains but from the products of fermentation which are obtained at the same time the alcohol is made and which are carried over with the alcohol at the time of dis- tillation. Agricultural Sources of Industrial Alcohol. — The chief alcohol-yielding ma- terial produced in farm crops is starch, the second important material is sugar, and the third and least important raw material is cellulose, or woody fiber. The quantity of alcohol produced from cellulose is so small as to be of no im- portance at the present time, and there- fore this source of alcohol will only be discussed under the headings "Utiliza- tion of Waste Material or By-Products" and "Wood Pulp and Sawdust." Starch-Producing Plants. — Starch is a compound which, from the chemical point of view, belongs to the class known as carbohydrates, that is, compounds in which the element carbon is associated by a chemical union with water. Starch is therefore a compound made of carbon, hydrogen, and oxygen, existing in the proportion of 2 atoms of hydrogen to 1 atom of oxygen. Each molecule of starch contains at least 6 atoms of carbon, 10 atoms of hydrogen, and 5 atoms of oxygen. The simplest expression for starch is therefore CeHioOs. Inasmuch as this is the simplest expression for what the chemist knows as a molecule of starch, and it is very probable that very many, perhaps a hundred or more, of these molecules exist together, the proper expression for starch from a chemical point of view would be (CaHioOs)^-. The principal starch-producing plants are the cereals, the potato, and cassava. With the potato may be classed, though not botanically related thereto, the sweet potato and the yam. Among cereals rice has the largest percentage of starch and oats the smallest. The potato, as grown for the table, has an average content of about 15 per cent of starch. When a potato is grown specifically for the production of alcohol it contains a larger quantity, or nearly 20 per cent. Cassava contains a larger percentage of starch than the potato, varying from 20 to 30 per cent. Sugar-Producin| Plants.— Sw^ar cane. SPIRIT 669 etc. While sugar is present in some degree in all vegetable growths, there are some plants which produce it in larger quantities than are required for im- mediate needs, and this sugar is stored in some part of the plant. Two plants are preeminently known for their rich- ness in sugar, namely, the sugar cane and the sugar beet. In Louisiana the sugar canes contain from 9 to 14 per cent of sugar, and tropical canes contain a still larger amount. The juices of the sugar beet contain from 12 to 18 per cent of sugar. There are other plants which produce large quantities of sugar, but which are less available for sugar- making purposes than those just mentioned. Among these, the sorghum must be first mentioned, con- taining in the stalk at the time the seed is just mature and the starch hardened from 9 to 15 per cent of sugar. Sorghum seed will also yield as much alcohol as equal weights of Indian corn. The juices of the stalks of Indian corn con- tain at the time the grain is hardening and for some time thereafter large quan- tities of sugar, varying from 8 to 15 per cent. In the case of the sorghum and the Indian-corn stalk a large part of the sugar present is not cane sugar or sucrose as it is commonly known, but the invert sugar derived therefrom. For the pur- poses of making alcohol the invert sugar IS even more suitable than cane sugar. Many other plants contain notable quantities of sugar, but, with the excep- tion of fruits, discussed under the follow- ing caption, not in sufficient quantities to be able to compete with those just men- tioned for making either sugar or alcohol. Cane sugar is not directly susceptible to fermentation. Chemically considered, it has the formula expressed by the symbols: Ci^H^jOn. When cane sugar having the above composition becomes inverted, it is due to a process known as hydrolysis, which consists in the molecule of cane sugar taking up 1 molecule of water and splitting off into 2 molecules of sugar having tne same formula but different physical and chemical properties. Thus the process may be represented as follows: disHsjOii (cane sugar) -|- Ha O (water) = CoHuOb (dextrose) -f- CsHiaO,, (levulose). These two sugars (dextrose and levulose) taken together are known as invert sugar and are directly sus- ceptible to fermentation. All cane sugar assumes the form of invert sugar before it becomes fermented. Fruits. — Nearly all fruit juices are rich in sugar, varying in content from 5 to 30 per cent. The sugar in fruits is composed of both cane sugar and its invert products (dextrose and levulose), in some fruits principally the latter. Of the common fruits the grape yields the largest percentage of sugar. , The normal grape used for wine making contains from 16 to 30 per cent of sugar, the usual amount being about 20 per cent. Fruit juices are not usually employed in any country for making industrial alcohol, because of their very much greater value for the production of beverages. Composition and Yield of Alcohol- Producing Crops. — The weight of alcohol that may be produced from a given crop is estimated at a little less than one-half of the amount of fermentable substance present, it being understood that the fermentable substance is expressed in terms of sugar. Pasteur was the first to point out the fact that when sugar was fermented it yielded theoretically a little over one-half of its weight of alcohol. It must be remembered, however, that in the production of alcohol a process of hydrolysis is taking place which adds a certain quantity of alcohol to the products which are formed. For this reason 100 parts of sugar yield more than 100 parts of fermentable products. The distribution of the weights produced, as theoretically calculated by Pasteur, is as follows: One hundred parts of sugar yield the following quantities of the products of fermentation: Alcohol 51.10 parts Carbonic acid 49.20 parts Glycerine 3.40 parts Organic acids, chiefly succinic 65 parts Ethers, aldehydes, fur- fural, fat, etc 1.30 parts Total weight fer- mentation prod- ucts produced. . .105.65 parts Artichokes. — The artichoke has been highly recommended for the manu- facture of alcohol. The fermentable material in the artichoke is neither starch nor sugar, but consists of a mixture of a number of carbohydrates of which inulin and levulin are the principal constituents. When these carbohydrate materials are hydrolized into sugars they produce levulose instead of dextrose. The levu- lose is equally as valuable as dextrose for the production of alcohol. Artichokes may be harvested either in the autumn or in the spring. As they keep well during the winter, and in a few places 670 SPIRIT may be kept in hot weather, they form a raw material which can be stored for a long period and still be valuable for fermentation purposes. Under the term "inulin" are included all the fermentable carbohydrates. The above data show, in round numbers, 17 per cent of fermentable matter. Theo- retically, therefore, 100 pounds of arti- chokes would yield approximately 8J pounds of industlrial alcohol, or about IJ gallons. Bananas. — The banana is a crop which grows in luxurious abundance in tropicaF countries, especially Guatemala and Nicaragua. The fruit contains large quantities of starch and sugar suitable for alcohol making. From 20 to 25 per cent of the weight of the banana consists of fermentable material. It is evident that in the countries where the banana grows in such luxuriance it would be a cheap source of industrial alcohol. Barley and the Manufacture of Malt. — A very important cereal in connection with the manufacture of alcohol is barley which is quite universally employed for making malt, the malt in its turn being used for the conversion of the starch of other cereals into sugar in their prepara- tion for fermentation. Malt is made by the sprouting of barley at a low temperature (from 50° to 60° P.) until the small roots are formed and the germ has grown to the length of i an inch or more. The best malts are made at a low temperature requiring from 10 to 14 days for the growth of the barley. The barley is moistened and spread upon a floor, usually of cement, to the depth of 1 foot or 18 inches. As the barley becomes warm by the process of germination, it is turned from time to time and the room is kept well ven- tilated and cool. It is better at this point in the manufacture of malt to keep the temperature below 60° F. After the sprouting has been continued as above noted for the proper length of time, the barley is transferred to a drier, where it is subjected to a low temperature at first and finally to a temperature not to ex- ceed 140° or 158° P., until all the water is driven off, except 2 or 3 per cent. Great care must be exercised in drying the barley not to raise the temperature too high, lest the diastase which is formed be deprived of its active qualities. The malt has a sweetish taste, the principal portion of the starch having been con- verted into sugar, which is known chemically as "maltose." This sugar is, of course, utilized in the fermentation for the production of alcohol. Malt is chiefly valuable, however, not because of the amount of alcohol that may be pro- duced therefrom, but from the fact that in quantities of about 10 per cent it is capable of converting the starch of the whole of the unmalted grains, whatever their origin may be, into maltose, thus preparing the starch for fermentation. Barley is not itself used in this country as a source of industrial alcohol, but it is employed for producing the highest grades of whisky, made of pure barley malt, which, after fermentation, is dis- tilled in a pot still, concentrated in another pot still to the proper strength, placed in wood, and stored for a number of years. Barley malt is too expensive a source of alcohol to justify its use for industrial purposes. It is, however, one of the cheapest and best methods of converting the starch of other cereals into sugar preparatory to fermentation. Barley has, in round numbers, about 68 per cent of fermentable matter. The weight of a bushel of barley (48 pounds) multiplied by 0.68 gives 32 pounds of fermentable matter in a bushel of barley. Cassava. — Cassava is grown over a large area of the South Atlantic and Gulf States of this country. Of all the sub- stances which have been mentioned, ex- cept the cereals, cassava contains the largest amount of alcoholic or ferment- able substances. The root, deprived of its outer envelope, contains a little over SO per cent of starch, while the un- determined matter in the analyses is principally sugar. If this be added to the starch, it is seen that approximately 35 per cent of the fresh root is ferment- able. This of course represents a very high ^rade of cassava, the ordinary roots containing very much less fermentable matter. If, however, it is assumed that the fermentable matter of cassava root will average 25 per cent, this amount is much greater than the' average of the potato, or even of the sweet potato and the yam. Twenty-five per cent is undoubtedly a low average content of fermentable matter. In the dry root there is found nearly 72 per cent of starch and 17 per cent of extract, prin- cipally sugar. Assuming that 15 per cent of this is fermentable, and adding this to the 72 per cent, it is seen that 87 per cent of the dry matter of the cassava is fermentable. This appears to be a very high figure, but it doubtless represents almost exactly the conditions which exist. It would be perfectly safe to say, discounting any exceptional qualities of the samples examined, that 80 per cent of the dry matter of the cassava root is SPIRIT 671 capable of being converted into alcohol. It thus becomes in a dry state a source of alcohol almost as valuable, pound for pound, as rice. Careful examinations, however, of ac- tual conditions show that if 6 tons per acre of roots are obtained it is an average yield. In very many cases, where no fertilizer is used and where the roots are grown in the ordinary manner, the yield is far less than this, while with improved methods of agriculture it is greater. The bark of the root, has very little ferment- able matter in it. If the whole root be considered, the percentage of starch is less than it would be for the peeled root. If cassava yields 4 tons, or 8,000 pounds, per acre and contains 25 per cent of fer- mentable matter, the total weight of fermentable matter is 2,000 pounds, yield- ing approximately 1,000 pounds of 95 per cent alcohol, or 143 gallons of 95 per cent alcohol per acre. Corn {Indian Corn or Maize). — -The crop which at the present time is the source of almost all of the alcohol made in the United States is Indian corn. The fermentable matter in Indian corn — that is, the part which is capable of being converted into alcohol — amounts to nearly 70 per cent of the total weight, since the unfermentable cellulose and pentosans included in carbohydrates do not exceed 2 per cent. Inasmuch as a, bushel of Indian corn weighs 56 pounds, the total weight of fermentable matter therein, in round numbers, is 39 pounds. The weight of the alcohol which is pro- duced under the best conditions is little less than one-half of the fermentable matter. Therefore the total weight of alcohol which would be yielded by a bushel of average Indian corn would be, in round numbers, about 19 pounds. The weight of a gallon of 95 per cent al- cohol is nearly 7 pounds. Hence 1 bush- el of corn would produce 2.7 gallons. If the average price of Indian corn be placed, in round numbers, at 40 cents a bushel, the cost of the raw material — that is, of the Indian corn — for manu- facturing 95 per cent industrial alcohol is about IS cents a gallon. To this must be added the cost of manufacture, stor- age, etc., which is perhaps as much more, making the estimated actual cost of in- dustrial alcohol of 95 per cent strength made from Indian corn about 30 cents per gallon. If to this be added the profits of the manufacturer and dealer, it appears that under the conditions cited, industrial alcohol, untaxed, should be sold for about 40 cents per gallon. Potatoes. — The weight of a bushel of potatoes is 60 pounds. As the average amount of fermentable matter in potatoes grown in the United States is 20 per cent, the total weight of fermentable matter in a bushel of potatoes is 12 pounds, which would yield approximate- ly 6 pounds or 3.6 quarts of alcohol. The quantity of starch in American- grown potatoes varies from 15 to 20 per cent. Trobably 18 per cent might be stated as the general average of the best grades of potatoes. Under tne microscope the granules of potato starch have a distinctive appear- ance. They appear as egg-shaped bodies on which, especially the larger ones, various ring-like lines are seen. With a modified light under certain conditions of observation a black cross is developed upon the granule. It is not difficult for an expert microscopist to distinguish potato from other forms of starch by this appearance. The potato contains very little ma- terial which is capable of fermentation aside from starch and sugars. Although the potato is not sweet to the taste m a fresh state, it contains not- able quantities of sugar. This sugar is lost whenever the potato is used for starch-making purposes, but is utilized when it is usecf for the manufacture of industrial alcohol. The percentage of sugar of all kinds in the potato rarely goes above 1 per cent. The average quantity is probably not far from 0.35 per cent, including sugar, reducing sugar, and dextrin, all of which are soluble in water. In the treatment of potatoes for starch making, therefore, it may be estimated that 0.35 per cent of fer- mentable matter is lost in the wash water. Average Composition. — ^The average composition of potatoes is : Water 75.00 per cent Starch 19.87 per cent Sugars and dex- trin 77 per cent .Fat 08 per cent Cellulose 33 per cent Ash 1.00 per cent According to Maercker, the sugar con- tent, including all forms of sugar, varies greatly. Perfectly ripe potatoes contain generally no sugar or only a fractional per cent. When potatoes are stored under unfavorable conditions, large quantities of sugar may be developed, amounting to as high as 5 per cent altogether. In general, it may be stated that the content of sugar of all kinds will vary from 0.4 per cent to 3.4 per cent, according to conditions. 672 SPIRIT The liberal application of nitrogenous fertilizers increases the yield per acre of tubers and of starch to a very marked extent, although the average percentage of starch present is increased very little. Of all the common root crops, the potatoes, including the yam and the sweet potato, are the most valuable for the production of alcohol, meaning by this term that they contain more fer- mentable matter per 100 pounds than other root crops. While sugar beets, carrots, and pars- nips contain relatively large amounts of fermentable matter, these roots could not compete with potatoes even if they could all be produced at the same price per 100 pounds. A general review of all the data in- dicates that under the most favorable circumstances and with potatoes which have been grown especially for the purpose an average content of fermentable mat- ter of about 20 per cent may be reason- ably expected. It is thus seen that approximately 10 pounds of industrial alcohol can be made from 100 pounds of potatoes. If 60 pounds be taken as the average weight of a bushel of potatoes, there are found therefn 12 pounds of fermentable matter, from which 6 pounds of industrial alcohol can be produced, or f of a gallon. It has also been shown that the amount of Indian corn neces- sary for the production of a gallon of in- dustrial alcohol costs not less than 15 cents. From this it is evident that the potatoes for alcohol making will have to be produced at a cost not to exceed 15 cents per bushel, before they can com- pete with Indian corn for the manufac- ture of industrial alcohol. Rice. — Rice is not used to any great extent in this country for making alco- hol, but it is extensively used for this purpose in Japan and some other coun- tries, and has the largest percentage of fermentable matter of all the cereals. The percentage of fermentable matt.er in rice is nearly 78 per cent. A bushel of rice weighs, unhulled, 45 pounds, hulled, 56 pounds, and it therefore has about 34 and 43 pounds, respectively, of ferment- able matter for the unhulled and the hulled rice. It is not probable that rice will ever be used to any extent in this country as a source of industrial alcohol, although it is used to a large extent in the manufacture of beverages, as for in- stance in beers, which are often made partly of rice. Rye. — Large quantities of alcohol, chiefly in the form of alcoholic beverages, are manufactured from rye. It is, in connection with Indian corn, the prm- cipal source of the whiskies made in the United States. Rye, however, is not used to any extent in this or other countries for making industrial alcohol. Rye contains almost as much ferment- able matter as Indian corn. A bushel of rye weighs 56 pounds. Wheat and other cereals, not mentioned above, are_ not used in this country to any appreciable extent in the manufacture of alcohol. _ Spelf. — This grain, which is botanic- ally a variety of wheat, more closely resembles barley. Under favorable con- ditions as much as 73 bushels per acre have been reported, and analyses show 70 per cent of fermentable carbohy- drates. The weight per bushel is about the same as that of oats. It would ap- pear that this crop might be worthy of consideration as a profitable source of industrial alcohol. Sugar Beets. — The sugar beet is often used directly as a source of alcohol. Working on a practical scale in France, it has been found that from 10,430 tons of beets there were produced 183,624 gallons of crude alcohol of 100 per cent strength. The beets contain 11.33 per cent of sugar. From 220 pounds of sugar 15.64 gallons of alcohol were produced. The weight of pure alcohol obtained is a little less than one-half the weight of the dry fermentable matter calculated as sugar subjected to fermentation. About 18 gallons of alcohol are produced for each ton of sugar beets employed. Sweet Potatoes. — Experiments show that as much as 11,000 pounds of sweet potatoes can be grown per acre. The average yield of sweet potatoes, of course, is very much less. On plots to which no fertilizer is added the yield is about 8,000 pounds of sweet potatoes per acre, yielding in round numbers 1,900 pounds of starch. The quantity of sugar in the 8,000 pounds is about 350 pounds, which, added to the starch, makes 2,250 pounds of fermentable matter per acre. This will yield 1,125 pounds of industrial alcohol of 95 per cent strength, or ap- proximately 160 gallons per acre. The percentage of starch is markedly greater than in the white or Irish potato. In all cases over 20 per cent of starch was ob- tained in the South Carolina sweet potatoes, and in one instance over 24 per cent. As much as 2,600 pounds of starch were produced per acre. In addition to starch, the sweet potato contains notable quantities of sugar, sometimes as high as 6 per cent being present, so that the total fermentable matter in the sweet potato may be reck- SPIRIT 673 oned at the minimum at 25 per cent. A bushel of sweet potatoes weighs 55 pounds, and one-quarter of this is fer- mentable matter, or nearly 14 pounds. This would yield, approximately, 7 pounds, or a little over 1 gallon of 95 per cent alcohol. It may be fairly stated, therefore, in a general way, that a bushel of sweet potatoes will yield 1 gallon of industrial alcohol. Experiments have shown that the quantity of starch diminishes and the quantity of sugar increases on storing. Further, it may be stated that in the varieties of sweet potatoes which are most esteemed for table use there is less starch and perhaps more sugar than stated above. The total quantity of fermentable matter, however, does not greatly change, although there is prob- ably a slight Toss. Utilization of Waste Material or By- products. — Molasses. — The utilization of the waste materials from the sugar factories and sugar refineries for the pur- pose of making alcohol is a well-es- tablished industry. The use of these sources of supply depends, of course, upon the cost of the molasses. When the sugar has been exhausted as fully as possible from the molasses the latter consists of a saccharine product, contain- ing a considerable quantity of unferment- ame carbohydrate matter, large quan- tities of mineral salts, and water. In molasses of this kind there is probably not more than 50 pounds of fermentable matter to 100 pounds of the product. Assuming that a gallon of such molasses weighs 11 pounds, it is seen that it con- tains 6 J pounds of fermentable matter, yielding 2i pounds of industrial alcohol of 95 per cent strength. It requires about 3 gallons of such molasses to make 1 gallon of industrial alcohol. When the price of molasses delivered to the refineries falls as low as 6 or 6 cents a gallon it may be considered a profitable source of alcohol. Wood Pulp and Sawdust. — Many at- tempts have been made to produce alconol for industrial purposes from sawdust, wood pulp, or waste wood material. The principle of the process rests upon the fact that the woody sub- stance is composed of cellulose and kindred matters which, under the action of dilute acid (preferably sulphuric or sulphurous) and heat, with or without pressure, undergo hydrolysis and are changed into sugars. A large part of the sugar which is formed is non- fermentable, consisting of a substance known as xylose. Another part of the sugar produced is dextrose, made from the true cellulose which the wood contains. The yield of alcohol in many of the experiments which have been made has not been very satisfactory. It is claimed, however, by some authors that paying quantities of alcohol are secured. In Simmonsen's process for the manu- facture of alconol J per cent sulphuric acid is employed and from 4 to 5 parts of the liquid heated with 1 part of the finely comminuted wood for a quarter of an hour under a pressure of 9 atmos- pheres. It is claimed by Simmonsen that he obtained a yield of 6 quarts of alcohol from 110 pounds of air-dried shavings. Another process whifih has been tried in this and other countries for converting comminuted wood into alcohol is known as Classen's. The comminuted wood is heated for 15 minutes in a closed apparatus at a temperature of from 248° to 293° P. in the presence of sulphurous acid (fumes of burning sulphur) instead of sulphuric acid. It is claimed by the inventor that he has made as much as 12 quarts of alcohol from 110 pounds of the air-dried shavings. There is reason to doubt the possibility of securing such high yields in actual practice as are claimed in the above processes. That alcohol can be made from sawdust and wood shavings is undoubtedly true, but whether or not it can be made profitably must be determined by actual manu- facturing operations. Waste Products of Canneries, etc. — The principal waste materials which may be considered in this connection are the refuse of wine making, fruit evaporating, and canning industries, especially the waste of factories devoted to the can- ning of tomatoes and Indian corn. In addition to this, the waste fruit products themselves, which are not utilized at all, as, for instance, the imperfect and rotten apples, tomatoes, grapes, etc., may be favorably considered. The quantity of waste products varies greatly in different materials. The quantities of waste material in grapes and apples, as shown by Lazenby, are as follows: About 26 per cent of the total weight in grapes, with the exception of the wild grape, where it is about 60 per cent; with apples the average per- centage of waste was found to be 23.8 per cent from 26 varieties. This in- cluded the waste in the core, skin, and the defective apples caused by insects, fungi, bruises, etc. In general it may be said that in the preparation of fruits fof 674 SPIRIT preserving purposes about 25 per cent of their weight is waste, and this, it is evident, could be utilized for the manu- facture of alcohol. If apples be taken as a type of fruits, we may assume that the waste portions contain 10 per cent of fermentable matters, which, however, is perhaps rather a high estimate. Five per cent of this might be recovered as mdustrial alcohol. Thus, each 100 pounds of fruit waste in the most favor- able circumstances might be expected to produce 5 pounds of mdustrial alcohol. The quantity of waste which couid be utilized for this purpose would hardly established it might be profitable to devote them to this purpose. Manufacture of Alcohol. — The three principal steps in the manufacture of alcohol are (1) the preparation of the mash or wort, (2) the fermentation of the mash or wort drawn off from the mash tun, and (3) the distillation of the dilute alcohol formed in the beer or wash from the fermentation tanks. The prepara- tion of the mash includes (1) the treat- ment of the material used with hot water to form a paste of the starch or the sugar, and (2) the action of the malt or ferment Fio. 1.— MASH TUN IN AN IRISH DISTILLERY. render it profitable to engage in the manufacture. A smaller percentage could be expected from the waste of the to- mato, where the quantity of sugar is not so great. In the waste of the sweet- corn factory the amount of ferment- able matter would depend largely on the care with which the grain was removed. There is usually a considerable quantity of starchy material left on the cobs, and this, with the natural sugars which the grown cobs contain, might yield quite large quantities of fermentable matter. It would not be profitable to erect dis- tilleries simply for the utilization of waste of this kind, but if these wastes could be utilized in distilleries already on the paste to convert the starch into fermentable sugar. _ Mashing. — Figs. 1 and 2 show two views of tne mashing tun or tank, the first figure giving the general appearance, and the second a view of the interior of the tun, showing the machinery by which the stirring is effected and the series of pipes for cooling the finished product down to the proper tempera- ture for the application of tne malt. The object of the mash tun is to re- duce the starch in the ground grain to a pasty, gummy mass, in order that the ferment of the malt may act upon it vigorously and convert it into sugar. If the mashing be done before the addition SPIRIT 675 Fio. 2.— MASHING AND COOLING APPARATUS, CROSS SECTION. 23 Flo. 3.— FERMENTATION TANKS IN AN IRISH DIEPILLERY. 676 SPIRIT of the malt the temperature may be raised to that of boiling water. If, how- ever, the malt be added before the mash- ing begins, the temperature should not rise much, if any, above 140° F., since the fermenting power is retarded and disturbed at higher temperatures. The mashing is simply a mechanical process by means of which the starch is reduced to a form of paste and the temperature maintained at that point which is best suited to the conversion of the starch into sugar. Fermentation. — The mash, after the starch has all been converted into sugar, goes into fermenting tanks, which in Scotland are called "wash backs," when the yeast is added. A view of the typical wash back is shown in Fig. 3. They often have a stirring apparatus, as in- dicated in the figure, whereby the con- tents can be thoroughly mixed with the yeast and kept in motion. This is not necessary after the fermentation is once well established, but it is advisable, especially in the early stages, to keep the yeast well distributed throughout the mass. In these tanks the fermentations are conducted, the temperature being varied according to the nature of the product to be made. For industrial alcohol the sole purpose should be to secure the largest possible percentage of alcohol without reference to its palatable properties. An organism belonging to the vege- table family and to which the name "yeast" has been given is the active agent in fermentation. The organism itself does not take a direct part in the process, but it secretes another ferment of an unorganized character known as an "enzym" or a "diastase." This en- zym has the property, under proper conditions of food, temperature, and dilution, of acting upon sugar and con- verting it into alcohol and carbonic acid. Anyone who has ever seen a fermenting vat in full operation and noticed the violent boiling or ebullition of the liquor, can understand how rapidly the gas "carbon dioxide" or "carbonic acid," as it is usually called, may be formed, as it is the escape of this gas which gives the appearance to the tank of bemg in a violent state of ebullition. The yeast which produces the fermentation belongs to the same general family as the ordi- nary yeast which is used in the leavening of bread. The leavening of bread under the action of yeast is due to the conver- sion of the sugar in the dough into alcohol and carbon dioxide or carbonic ^cid. The gas thus formed becomes entangled in the particles of the gluten, and these expanding cause the whole mass to swell or "rise," as it is commonly expressed. Starch cannot be directly fermented, but must be first converted into sugar, either by the action of a chemicjil like an acid, or a ferment or enzym, known as diastase, which is one of the abundant constituents of malt, especially of barley malt. In the prep- aration of a cereal, for instance, for fermentation, it is properly softened and ground, and then usually heated with water to the boiling point or above in order that the starch may be difl'used throughout the water. After cooling, it is treated with barley malt, the diastase of which acts vigorously upon the starch, converting it into a form of sugar, namely, maltose, which lends itself readily to the activities of the yeast fer- mentation. (Fig. 4.) Fig. 4.— yeast FROM BEER SEDIMENT SHOWING BUDDING ( X 1270). When ordinary sugar (cane sugar, beet sugar, and sucrose) is subjected to fermentation it is necessary that the yeast, which also exerts an activity similar to that of malt, should first con- vert the cane sugar into invert sugar (equal mixtures of dextrose and levulose) before the alcoholic fermentation is set up. The cane sugar is also easily in- verted by heating with an acid. "When different kinds of sugars and starches are fermented for the purpose of making a beverage it is important that the temperature of fermentation be care- fully controlled, since the character of the product depends largely upon the temperature at which the fermentation takes place. On the contrary, when in- dustrial alcohol is made, the sole object is to get as large a yield as possible, and for this reason that temperature should be employed which produces the most alcohol and the least by-products, ir- respective of the flavor or character of the product made. Also, in the making of alcoholic beverages, it is important that the malt be of the very best quality in SPIRIT 677 order thaf the resulting product may have the proper flavor. In the produc- tion of alcohol for industrial purposes this is of no consequence, and the sole purpose here should be to produce the largest possible yield. For this reason there is no objection to the use of acids for converting the starch, cane sugar, and cellulose into fermentable sugars. Therefore, the heating of the raw ma- terials under pressure with dilute acids in order to procure the largest quantity of sugar is a perfectly legitimate method of procedure in the manufacture of in- dustrial alcohols. Sugars and starches are usually asso- ciated in nature with another variety of carbohydrates known as cellulose, and this cellulose itself, when acted upon by an acid, is converted very largely into sugars, which, on fermentation, yield alcohol. For industrial purposes, the alcohol produced in this manner is just as valuable as that made from sugar and starch. Whether the diastatic method of converting the starch and sugar into fermentable sugars be used, or the acid method, is simply a question of economy and yield. On the other hand, when alcoholic beverages are to be made, those processes must be employed, irrespective of the magnitude of the yield, which give the finest and best flavors to the products. Distillation. — The object of distilla- tion is to separate the alcohol which has been formed from the non-volatile sub- stances with which it is mixed. A typical form of distilling apparatus for the con- centration of the dilute alcohol which is formed in the beer or wash from the fer- mentation tanks, is represented in Fig. 5. This apparatus is of the continuous type common to Europe and America. It consists of a "beer still" provided with a number of chambers fitted with per- forated plates and suitable overflow pipes. It is operated as follows: The syrup and alcohol are pumped into the top of the beer still through a pipe O; the tank G may also be placed above the center of the still and the con- tents allowed to flow into the still by gravity; steam is admitted through an open pipe into the kettle A at the bottom of the column or is produced by heating the spent liquor by means of a coil. The steam ascends through the perforations in the plates, becoming richer and richer in alcohol as it passes through each lay- er of liquor, while the latter gradually descends by means of the overflow pipes to the bottom of the column B and finally reaches the kettle completely exhausted of alcohol, whence it is removed by means of a pump connected with the pipe line H. On reaching the top of the beer still B the vapors of the alcohol and the steam continue to rise and pass into the alcohol column C. This column is also divided into chambers, but by solid instead of perforated plates, as shown at FlQ. 5.— CONTINUOUS DISTILLING APPARATUS. K. Each chamber is provided with a return or overflow pipe and an opening through which the vapors ascend. In the alcohol column the vapors are so directed as to pass through a layer of 678 SPIRIT— SPONGES liquid more or less rich in alcohol which is retained by the plate separating the compartments. An excess of liquids in these compartments overflows through the down pipes, gradually works its way into the Beer still, and thence to the kettle. On reaching the top of the coir umn the vapors, which have now be- come quite rich in alcohol, are passed into a coil provided with an outlet at the lowest part of each bend. These outlets lead into the return pipe P, which con- nects with the top chamber of the alcohol column. This coil js technically termed the "goose" and is immersed in a tank called the "goose tub." A suitable ar- rangement is provided for controlling the temperature of the water in the tub by means of outlet and inlet water pipes. When the still is in operation the temper- ature of the "goose" is regulated accord- ing to the required density of the alco- hol. The object of the "goose" is the return to the column of alllow products which condense at a temperature be- low the boiling point of ethyl alcohol of the desired strength. On leaving the "goose" the vapors enter a condenser E, wnence the liquid alcohol is conducted into a separator F. This separator con- sists simply of a glass box provided with a cylinder through which a current of alcohol is constantly flowing. An alcohol spindle is inserted in this cylinder and shows the density of the spirit at all times. A pipe, with a funnel-shaped opening at its upper extremity, connects with the pipe leading from the condens- er and gives vent to any objectionable fumes. The separator is connected by means of a pipe with the alcohol storage tank. The pipe O is for emptying the upper chambers when necessary. The valves N , communicating by means of a small pipe with a condenser Af, are for testing the vapors in the lower chambers for alcohol. Substances Used for Denaturing Alco- hol. — The process of rendering alcohol unsuitable for drinking is called 'denatur- ing," and consists, essentially, in adding to the alcohol a substance soluble there- in of a bad taste or odor, or both, of an intensity which would render it impos- sible or impracticable to use the mixture as a drink. Among the denaturing sub- stances which have been proposed are the following: Gum shellac (with or without the ad- dition of camphor, turpentine, wood spirit, etc.), colophonium, copal rosin, Manila gum, camphor, turpentine, acetic acid, acetic ether, ethylic ether, methyl alcohol (wood alcohol), pyridine, acetone, methyl acetate, methyl violet, methylene blue, aniline blue, eosin, fluorescein, naphthalene, castor oil, benzine, carbolic acid, caustic soda, musk, animal oils, etc. Methyl (wood) alcohol and benzine are the denaturing agents authorized in the United States, in the following pro- portions: To 100 parts, by volume, of ethyl alcohol (not less than 90 per cent strength) add 10 parts of approved methyl (wood) alcohol and J of 1 part of approved benzine. Such alcohol is classed as completely denatured. Formulas for special denaturation may be submitted for approval by manufacturers to the Commissioner of Internal Revenue, who will determine whether they may be used or not, and only one special denaturant will be authorized for the same class of industries unless it shall be shown that there is good reason for additional special denaturants. Not less than 300 wine gallons can be withdrawn from a bonded warehouse at one time for denaturing purposes. Spirit. — Proof spirit is a term used by the revenue department in assessing the tax on alcoholic liquors. It means a liquid in which there is SO per cent (by volume) of absolute alcohol. As it is the actual alcohol in the whisky, brandy, dilute alcohol, etc., which is taxed, and as this varies so widely, it is necessary that the actual wine gallons be converted into Eroof gallons before the tax rate can be xed. A sample that is half alcohol and half water (let us say for conven- ience) is "100 proof." A sample that is I alcohol and J water is 150 proof, and the tax on every gallon of it is \\ times the regular government rate per proof gallon. Absolute alcohol is 200 proof and has to pay a double tax. The legal definition of proof spirit is, "that alcoholic liquor which contains one-half its volume of alcohol of a spe- cific gravity of 0.7939 at 60° F." SPONGES: Bleaching Sponges. — I. — Soak in dilute hydrochloric acid to remove the lime, then wash in water, and place for 10 minutes in a 2 per cent solution of potassium permanganate. The brown color on removal from this solution is due to the deposition of manganous oxide, and this may be removed by steeping for a few minutes in very dilute sulphuric acid. As soon as the sponges appear white, they are washed out in water to remove the acid. II. — A sponge that has been used in SPONGES— STAMPING 679 surgical operations or for other purposes, should first be washed in warm water, to every quart of which 20 drops of liquor of soda have been added; afterwards washed in pure water, wrung or pressed out and put into a jar of bromine water, where it is left until bleached. Bleaching is accelerated by exposing the vessel containing the bromine water to the direct rays of the sun. When the sponge is bleached it is removed from the bro- mine water, and put for a few minutes in the water containing soda lye. Finally it is rinsed in running water until the odor of bromine disappears. It should be dried as rapidly as possible by hang- ing it in the direct sunlight. Sterilization of Sponges. — I.-^AUow the sponges to lie for 24 hours in an 8 per cent hydrochloric acid solution, to eliminate lime and coarse impurities; wash in clean water, and place the sponges in a solution of caustic potash, 10 parts; tannin, 10 parts; and water, 1,000 parts. After they have been sat- urated for 5 to 20 minutes with this liquid, they are washed out in steril- ized water or a solution of carbolic acid or corrosive sublimate, untjjl they have entirely lost the brown coloring acquired by the treatment with tannin. The sponges thus sterilized are kept in a 2 per cent or 15 per cent carbolic solution. Sponge Window Display. — Soak a large Eiece of coarse sponge in water, squeeze alf dry, then sprinkle in the openings red clover seed, millet, barley, lawn grass, oats, rice, etc. Hang this in the window, where the sun shines a portion of the day, and sprinkle lightly with water daily. It will soon form a mass of living green vegetation very refreshing to the eyes. While the windows are kept warm this may be done at any season. The seeds used may be varied, according to fancy. SPONGES AS FILTERS: See Filters. SPONGE CLEANERS: See Cleaning Preparations and Meth- ods, under Miscellaneous Methods. SPONGE-TRICK, BURNING: See Pyrotechnics. SPOT ERADICATORS: See Cleaning Preparations and Meth- ods and Soaps. SPOT GILDING: See Plating. SPRAY SOLUTION: See Balsams. Varnishes and Wood SPEARMINT CORDIAL: See Wines and Liquors. SPRAIN WASHES: See Veterinary Formulas. SPRING CLEANING: See Cleaning Preparations and Meth- ods. SPRING HARDENING: See Steel. SPRINGS OF WATCHES: See Watchmakers' Formulas. SPRUCE BEER: See Beverages. STAIN REMOVERS: See Cleaning Preparations and Meth- ods. STAINS: See Paints, Stains. STAINS FOR LACQUERS: See Lacquers. Stamping (See also Dyes.) Stamping Colors for Use with Rubber Stamps. — Blue: 0.3 parts of water-blue 1 B. 1.5 parts of dextrin, 1.5 parts of dis- tilled water. Dissolve the aniline dye and the dextrin in the distilled water, over a water bath, and add 7 parts of refined glycerine, 28° Be. Other colors may be made according to the same formula, substituting the following quantities of dyes for the water-blue: Methyl violet 3 B, 0.02 parts; diamond fuchsine I, 0.02 parts; aniline green D, 0.04 parts; vesuvine B, 0.05 parts; phenol black, 0.03 parts. Oleagi- nous colors are mostly used for metallic stamps, but glycerine colors can be used in case of necessity. Oleaginous Stamping Colors. — Mix O.S parts of indigo, ground fine with 2.5 parts of linseed-oil varnish, and 0.5 parts of olein. Add 2 parts of castor oil and 5 parts of linseed oil. For other colors accord- ing to the same formula, use the following quantities: Cinnabar, 2J parts; verdigris, 2i parts; lampblack, 1.2 parts; oil-soluble aniline blue A, 0.35 parts; oil-soluble aniline scarlet B, 0.3 parts; aniline yellow (oil-soluble), 0.45 parts; oil-soluble aniline black L, 0.6 parts. Stamping Liquids and -Powders. — Dis- solve 1 drachm each of rosin and copal 680 STAMPING— STARCH in 4 fluidounces of benzine and with a little of this liquid triturate J drachm of Prussian blue and finally mix thoroughly with the remainder. Ultramarine, to which has been added a small proportion of powdered rosin, is generally used for stamping embroidery patterns on white goods. The powder is dusted through the perforated pattern, which is then covered with a paper and a hot iron passed over it to melt the rosin and cause the powder to adhere to the cloth. The following are said to be ex- cellent powders: I. — White. — One part each of rosin, copal, damar, mastic, sandarac, borax, and bronze powder, and 2 parts white lead. II. — Black. — Equal parts of rosin, dam- ar, copal, sandarac, Prussian blue, ivory black, and bronze powder. III. — Blue. — Equal parts of rosin, damar, copal, sandarac, Prussian blue, ultramarine, and bronze powder. In all these powders the gums are first to be thoroughly triturated and mixed by passing through a sieve, and the other ingredients carefully added. Other colors may be made by using chrome yellow, burnt or raw sienna, raw or burnt umber, Vandyke brown, etc. For stamping fab- rics liable to be injured by heat, the stamping is done by moistening a suitable powder with alcohol and using it like a stencil ink. Stamping Powder for Embroideries. — ■ "Stamping powders" used for outlining embroidery patterns are made by mixing a little finely powdered rosin with a suit- able pigment. After dusting the powder through the perforated pattern it is fixed on the fabric by laying over it a piece of paper and then passing a hot iron care- fully over the paper. By this means the rosin is melted and the mixture adheres. When white goods are to be "stamped," ultramarine is commonly used as the pigment; for dark goods, zinc white may be substituted. Especial care should be taken to avoid lead compounds and other poisonous pigments, as they may do mischief by dusting off. On velvets or other materials likely to be injured by heat, stamping is said to be done by moistening a suitable powder with alco- hol and using it as stencil paint. A small addition of rosinous matter would seem required here also. Starch Black Starch. — ^Add to the starch a certain amount' of logwood extract be- fore the starch mixture is boiled. The quantity varies according to the depth of the black and the amount of starch. A small quantity of potassium bichro- mate dissolved in hot water is used to bring out the proper shade of black. In place of bichromate, black iron liquor may be used. This comes ready pre- pared. Starch Gloss. — I. — Melt 2^ pounds of the best paraffine wax over a slow fire. "When liquefied remove from the fire to stir in 100 drops of oil of citronella. Place several new pie tins on a level table, coat them slightly with sweet oil, and pour about 6 tablespoonfuls of the melted paraffine wax into each tin. The pan may be floated in water suflSciently to permit the mixture to be cut or stamped out with a tin cutter into small cakes about the size of a peppermint lozenge. Two of these cakes added to each pint of starch will cause the smooth- ing iron to impart the finest possible finish to muslin or linen, besides perfum- ing the clothes. II. — Gum arable, pow- dered 3 parts Spermaceti wax .... 6 parts Borax, powdered. .. 4 parts White cornstarch ... 8 parts All these are to be intimately mixed in the powder form by sifting through a sieve several times. As the wax is in a solid form and does not readily become reduced to powder by pounding in a mor- tar, the best method of reducing it to such a condition is to put the wax into a bottle with some sulphuric or rectified ether and then allow the fluid to evap- orate. After it has dissolved the wax, as the evaporation proceeds, the wax will be deposited again in the solid form, but in fine thin flakes, which will easily break down to a powder form when rubbed up with the other ingredients in a cold mortar. Pack in paper or in cardboard boxes. To use, 4 teaspoon- fuls per pound of dry starch are to be added to all dry starch, and then the starch made in the usual way as boiled starch. Refining of Potato Starch. — A suit- able quantity of chloride of lime, fluc- tuating according to its quality between J to 1 part per 100 parts of starch, is made with little water into a thick paste. To this paste add gradually with con- stant stirring 10 to 15 times the quantity of water, and filter. The filtrate is now added to the starch stirred up with water; J part of ordinary STARCH— STEEL 681 hydrochloric acid of 20° Be. previously diluted with four times the quantity of water is mixed in, for every part of chloride of lime, the whole is stirred thoroughly, and the starch allowed to stand. When the starch has settled, the supernatant water is let off and the starch is washed with fresh water until all odor of chlorine has entirely disappeared. The starch now obtained is the resulting final product. If the starch thus treated is to be worked up into dextrin, it is treated in the usual manner with hydrochloric acid or nitric acid and will then furnish a dex- trin perfectly free from taste and smell. In case the starch is to be turned into "soluble" starch proceed as usual, in a similar manner as in the production of dextrin, with the single difference that the starch treated with hydrochloric or nitric acid remains exposed to a temper- ature of 212° F., only until a test with tincture of iodine gives a bluish-violet reaction. The soluble starch thus pro- duced, which is clearly soluble in boiling water, is odorless and tasteless. Starch Powder. — Finely powdered starch is a very desirable absorbent, ac- cording to Snively, who says that for toilet preparations it is usually scented by a little otto or sachet powder. Frangi- panin powder, used in the proportion of 1 part to 30 of. the starch, he adds, gives a, satisfactory odor. STARCHES: See Laundry Preparations. STARCH IN JELLY, TESTS FOR: See Foods. STARCH PASTE: See Adhesives. STATUE CLEANING: See Cleaning Preparations and Meth- ods. STATUETTES, CLEANING OF: See Plaster. STATUETTES OF LIPOWITZ METAL: See Alloys. Steel (See also Iron and Metals.) ANNEALING STEEL: See also Hardening Steel and Temper- ing Steel. This work requires the use of sub- stances w-hich yield their carbon readily and quickly to the tools on contact at a high temperature. Experience has shown that the best results are obtained by the use of yellow blood-lye salt (yel- low prussiate of potash), which, when brought in contact with the tool at a cheriy-red heat, becomes fluid, and in this condition has a strong cementing effect. The annealing process is as fol- lows: The tool is heated to a cherry red and the blood-lye salt sprinkled over the surface which is to be annealed. A fine sieve should be used, to secure an even distribution of the substance. The tool is then put back into the fire, heated to the proper temperature for tempering, and tempered. If it is desired to give a higher or more thorough tempering to iron or soft steel, the annealing process is repeated 2 or 3 times. The surface of the tool must, of course, be entirely free from scale. Small tools to which it is desired to impart a considerable degree of hardness by annealing with blood-lye salt are tempered as follows: Blood-lye salt is melted in an iron vessel over a moderate fire, and the tool, heated to a brown-red heat, placed in the melted salt, where it is allowed to remain for about 15 minutes. It is then heated to the hardening temperature and hardened. A similar but milder effect is produced in small, thin tools by making them re- peatedly red hot, immersing them slowly in oil or grease, reheating them, and finally tempering them in water. To in- crease the effect, soot or powdered char- coal is added to the oil or grease (train oil) till a thick paste is formed, into which the red-hot tool is plunged. By this means the tool is covered with a thick, not very combustible, coating, which produces a powerful cementation at the next heating. By mixing flour, yellow blood-lye salt, saltpeter, horn shavings, or ground hoofs, grease, and wax, a paste is formed which serves the same purpose. A choice may be made of any of the preparations sold as a "hardening paste"; they are all more or less of the same composition. This is a sample: Melt 500 grains of wax, 500 grains tal- low, 100 grains rosin, add a mixture of leather-coal, horn shavings, and ground hoofs in equal parts till a paste is formed, then add 10 grains saltpeter and 50 to 100 grains powdered yellow blood-lye salt, and stir well. The tools are put into this paste while red hot, allowed to cool in it, then reheated and tempered. More steel is injured, and sometimes spoiled, by over-annealing than in any other way. Steel heated too hot in an- nealing will shrink badly when being hardened; besides, it takes the life out of it. It should never be heated above a 682 STEEL low cherry red, and it should be a lower heat than it is when being hardened. It should be heated slowly and given a uniform heat all over and through the piece. * This is difficult to do in long bars and in an ordinary furnace. The best way to heat a piece of steel, either for anneal- ing or hardening, is in red-hot, pure lead. By this method it is done uniformly, and one can see the color all the time._ Some heating for annealing is done in this way: Simply cover up the piece in sawdust, and let it cool there, and good results will be obtained. Good screw threads cannot be cut in steel that is too soft. Soft annealing produces a much greater shrinkage and spoils the lead of tne thread. This mixture protects the appearance of polished or matted steel objects on heating to redness: Mix 1 part of white soap, 6 parts of chemically pure boracic acid, and 4 parts of phosphate of soda, after pulverizing, and make with water into a paste. For use, apply this to the article before the annealing. COLORING STEEL: Black. — I. — Oil or wax may be em- ployed on hard steel tools; with both methods the tool loses more or less of its hardness and the blacking process there- fore is suited only for tools which are used for working wood or at least need not be very hard, at any rate not for tools which are employed for working steel or cast iron. The handsomest glossy black color is obtained by first Eolishing the tool neatly again after it as been hardened in water, next causing it to assume on a grate or a hot plate the necessary tempermg color, yellow, vio- let blue, etc., then dipping it in molten, not too hot, yellow wax and burning off the adhering wax, after withdrawal, at a fire, without, however, further heating the tool. Finally dip the tool again into the wax and repeat the burning off at the flame until the shade is a nice lustrous black, whereupon the tool may be cooled off in water. The wax is sup- posed to impart greater toughness to the tool. It is advisable for all tools to h.ive a trough of fat ready, which has been heated to the necessary tempering de- gree, and the tools after hardening in water are suspended in the fat until they have aoguirea the temperature of the fat bath. When the parts are taken out and slowly allowed to cool, they will be a nice, but not lustrous, black. II. — The following has been suggested for either steel or iron: Bismuth chloride ... 1 part Mercury bichloride. 2 parts Copper chloride .... 1 part Hydrochloric acid . . 6 parts Alcohol 5 parts Water sufficient to make 64 parts. Mix. As in all such processes a great deal depends upon having the article to be treated absolutely clean and free from grease. Unless this is the case uniform results are impossible. The liquid may be applied with a swab, or a brush, but if the object is small enough to dip into the liquid better results may thus be obtained than in any other way. The covering thus put on is said to be very lasting, and a sure protection against oxidation. Blue. — I. — Heat an iron bar to redness and lay it on a receptacle filled with water. On this bar place the objects to be blued, with the polished side up. As soon as the article has acquired the desired color cause it to fall quickly into the water. The pieces to be blued must always previously be polished with pum- ice stone or fine emery. II. — For screws: Take an old watch barrel and drill as many holes into the head of it as the number of screws to be blued. Fill it about one-fourth full of brass or iron filings, put in the head, and then fit a wire long enough to bend over for a handle, into the arbor holes — head of the barrel upward. Brighten the heads of the screws, set them, point downward, into the holes already drilled, and expose the bottom of the barrel to the lamp until the screws assume the color you wish. III. — To blue gun-barrels, etc., dis- solve 2 parts of crystallized chloride of iron; 2 parts solid chloride of antimony; 1 part gallic acid in 4 or 5 parts of water; apply with a small sponge, and let dry in the air. Repeat this two or three times, then wash with water, and dry. Rub with boiled linseed oil to deepen the shade. Repeat this until satisfied with the result. IV. — The bluing of gun barrels is effected by heating evenly in a muflfle until the desired blue color is raised, the barrel being first made clean and bright with emery cloth, leaving no marks of grease or dirt upon the metal when the bluing takes place, and then allow to cool in the air. It requires considerable experience to obtain an even clear blue. Brown.— I. — The following recipe for browning is from the United States Ord- nance Manual: Spirits of wine, IJ STEEL 683 ounces; tincture of iron, IJ ounces; cor- rosive sublimate, IJ ounces; sweet spirits of niter, IJ ounces; blue vitriol, 1 ounce; nitric acid, } ounce. Mix and dissolve in 1 cjuart of warm water and keep in a glass jar. Clean the barrel well with caustic soda water to remove grease or oil. Then clean the' surface of all stains and marks with emery paper or cloth, so as to produce an even, bright surface for the acid to act upon, and one without finger marks. Stop the bore and vent with wooden plugs. Then ap- ply the mixture to every part with a sponge or rag, and expose to the air for 24 hours, when the loose rust should be rubbed off with a steel scratch brush. Use the mixture and the scratch brush twice, and more if necessary, and finally wash in boiling water, dry quickly, and wipe with linseed oil or varnish with shellac. II. — Apply four coats of the following solution, allowing each several hours to dry. Brush after each coat if necessary. After the last coat is dry, rub down hard. Sulphate of copper. . Sweet spirits of niter. Distilled water 1 ounce 1 ounce 1 pint Niello.— ^This is a brightly polished metal, which is provided with a black or blue-black foundation by heating, is cov- ered with a design by the use of a suitable matrix and then treated with hydro- chloric acid in such a manner that only the black ground is attacked, the metal underneath remaining untouched. Next, the acid is rinsed off and the reserve is removed with suitable solvents. The parts of the metal bared by the acid may also be provided with a galvanic coating of silver or other metal. Another method is to plunge the articles for a few minutes into a solution of ox- alic acid and to clean them by passing them through alcohol. In this way the polish can even be brought back with- out the use of rouge or diamantine. Whitening or Blanching.— If dissatis- fied with the color acquired in tempering, dip the article into an acid bath, which whitens it, after which the bluing opera- tion is repeated. This method is of great service, but it is important to remember always thoroughly to wash after the use of acid and then allow the object to re- main for a few minutes in alcohol. Sul- phuric acid does not whiten well, often leaving dark shades on the surface. Hy- drochloric acid gives better results. Small pieces of steel are also whitened with a piece of pith moistened with dilute sul- phuric acid, else the fine steel work, such as a watch hand, is fixed with lacquer on a plate and whitened by means of pith and polishing rouge, or a small stiff brush is charged with the same material. It is then detached by heating and cleaned in hot alcohol. TEMPERING STEEL. The best temperature at which to quench in the tempering of tool steel is tne one just above the transformation point of the steel, and this temperature may be accurately determined in the fol- lowing manner, without the use of a pyrometer. The pieces of steel are in- troduced successively at equal intervals of time into a muffle heated to a temper- ature a little above the transformation point of the steel. If, after a certain time, the pieces be taken out in the re- verse order they will at first show pro- gressively increasing degrees of brightness, these pieces being at the transformation point. When this point is passed the pieces again rapidly acquire a brightness superior to that of their neighbors, and should then be immediately quenched. I. — Heat red hot and dip in an un- guent made of mercury and the fat of bacon. This produces a remarkable degree of hardness and the steel pre- serves its tenacity and an elasticity which cannot be obtained by other means. II. — Heat to the red white and thrust quickly into a stick of sealing wax. Leave it a second, and then change it to another place, and so continue until the metal is too cool to penetrate the wax. To pierce with drills hardened in this way, moisten them with essence of turpentine. To Temper Small Coil Springs and Tools. — To temper small coil springs in a. furnace burning wood the springs are exposed to the heat of the flame and are quenched in a composition of the follow- ing preparation: To a barrel of fish oil, 10 quarts of rosin and 12 quarts of tallow are added. If the springs tempered in this mixture break, more tallow is added, but if the break indicates brittleness of the steel rather than excessive hardness, a ball of yellow beeswax about 6 inches in diameter is added. The springs are drawn to a reddish purple oy oeing placed on a frame having horizontally radiating arms like a star which is mounted on the end of a vertical rod. The springs are laid on the star and are lowered into a pot of melted lead, being held there for such time as is required to draw to the desired color. It is well known that the addition of 684 STEEL certain soluble substances powerfully affects the action of tempering water. This action is strengthened if the heat- conducting power of the water is raised by means of these substances; it is re- tarded if this power is reduced, or the boiling point substantially lowered. The substance most frequently used for the purpose of increasing the heat-conduct- ing power of tempering water is common salt. This is dissolved in varying pro- portions of weight, a saturated solution being generally used as a quenching mixture. The use of this solution is always advisable when tools of com- plicated shape, for which a considerable degree of hardness is necessary, are to be tempered in large quantities or in fre- quent succession. In using these cooling fluids, care must be taken that a sufB- cient quantity is added to the water to prevent any great rise of temperature when the tempering process is pro- tracted. For this reason the largest possible vessels should be used, wide and shallow, rather than narrow and deep, vessels being selected. Carbonate of soda and sal ammoniac do not increase the tempering action to the same extent as common salt, and are therefore not so frequently employed, though they form excellent additions to tempering water in certain cases. Tools of very complicated construction, such as fraises, where the danger of fracture of superficial parts has always to be kept in view, can with advantage be tempered in a solution of soda or sal ammoniac. Acids increase the action of tempering water consider- ably, and to a far greater extent than common salt. They are added in quan- tities up to 2 per cent, and frequent- ly in combination with salts. Organ- ic acids (e. g., acetic or citric) have a milder action than mineral acids (e. g., hydrochloric, nitric, or sulphuric). Acid- ulous water is employed in tempering tools for which the utmost degree of hardness is necessary, such as instru- ments for cutting exceptionally hard ob- jects, or when a sufficiently hard surface has to be given to a kind of steel not capable of much hardening. Alcohol lowers the boiling point of water, and causes so vigorous an evaporation when the water comes in contact with the red- hot metal, that the tempering is greatly retarded (in proportion to the amount of alcohol in the mixture). Water con- taining a large quantity of alcohol will not temper. Soap and soap suds will not temper steel; this property is made use of in the rapid cooling of steel for which a great degree of hardness is not desirable. When certain parts of com- pletely tempered steel have to be rendered soft, these parts are heated to a red heat and then cooled in soap suds. This is done with the tangs of files, knives, swords, saws, etc. Soluble organic sub- stances retard the tempering process in proportion to the quantity used, and thus lessen the effect of pure water. Such substances (e. g., milk, sour beer, etc.) are employed only to a limited extent. To Caseharden Locally. — In case- hardening certain articles it is sometimes necessary, or desirable, to leave spots or sections m the original soft uncarbonized condition while the remainder is carbon- ized and hardened. This may be ef- fected by first covering the parts to be hardened with a protecting coat of japan, and allowing it to dry. Then put the piece in an electroplating bath and de- posit a heavy coat of nickel over the parts not protected by the japan. The piece thus prepared may be treated in the usual manner in casehardening. The coat of nickel prevents the metal beneath being carbonized, so it does not harden when dipped in the bath. A plating of copper answers the same purpose as nickel and is often used. A simpler plan, where the shape of the piece permits, is to protect it from the action of the carbonizing material with an iron pipe or plate closely fitted or luted with clay. Another scheme is to machine the parts wanted soft after carbonizing but before hardening. By this procedure the carbonized material is removed where the metal is desired soft, and when heated and dipped these parts do not harden. To Harden a Hammer. — To avoid the danger of "checking" a hammer at the eye, heat the hammer to a good uniform hardening heat and then dip the small end almost up to the eye and cool as qiiickly as possible by moving about in the hardening bath; then dip the large end. To harden a hammer successfully by this method one must work quickly and cool the end dipped first enough to harden before the heat is lost on the other end. Draw the temper from the heat left about the eye. The result is a hammer hard only where it should be and free from "checks." Hardening Steel Wire. — Pass the steel wire through a lead bath heated to a temperature of 1,200° to 1,500° P. after it has previously been coated with a paste of chalk, so as to prevent the formation STEEL 685 of oxides. The wire is thus heated in a uniform manner and, according to whether it is desired hard or elastic, it is cooled in water or in oil. Hardening of Springs. — A variety of steel must be chosen which is suitable for the production of springs, a very tough quality with about 0.8 per cent of carbon being probably the best. Any steel works of good reputation would no doubt recommend a certain kind of steel. In shaping a spring, forging and ham- mering should be avoided if possible. In forging, an uneven treatment can scarcely be avoided; one portion is worked more than the other, causing tensions which, especially in springs, must be guarded against. It is most advantageous if a material of the thickness and shape of the spring can be obtained, which, by bending and pressing through, is shaped into the desired spring. Since this also entails slight tension, a careful annealing is advisable, so as to prevent cracking or distorting in hardening. The annealing is best conducted with exclusion of the air, by placing the springs in a sheet-iron box provided with a cover, smearing all the joints well up with loam. The heat- ing may be done in a muffled furnace; the box, with contents, is, not too slowly, heated to cherry red and then allowed to cool gradually, together with the stove. The springs must only be taken out when they have cooled off enough 'that they will give off no hissing sound when touched by water. In order to uniform- ly heat the springs for hardening, a muffle furnace is likewise employed, wherein they are heated to cherry-red heat. For cooling liquid, a mixture of oil, tallow, and petroleum is employed. A mass consisting of fish oil, tallow, and wax also renders good service, but one should see to it that there is a sufficient quantitjr of these cooling liquids, so that the springs may be moved about, same as when cooled in water, without causing an appreciable increase in the tempera- ture of the liquid. In most cases too small a quantity of the liquid is responsi- ble for the many failures in hardening. When the springs have cooled in the hardening liquid, they are taken out, dried off superficially, and the oil still adhering is burned off over a charcoal fire. This enables one to moderate the temper according to the duration of the burning off and to produce the desired elasticity. An even heating being of great importance in hardening springs, the electric current has of late oeen suc- cessfully employed for this purpose. To Temper a Tap. — After the tap has been cut and finished heat it in a pair of tongs to a blood-red heat over a charcoal fire or the blue flame of a Bunsen burner or blow pipe, turning it around so that one point does not get heated before another. Have ready a pail of clean, cold water, into which a handful of com- mon salt has been put. Stir the water in the pail so that a whirlpool is set up. Then plunge the tap, point first and vertically, into the vortex to cool. The turning of the tap during heating, as well as the swirl of the quenching water, pre- vents distortion. In tempering, the tem- per of the tap requires to be drawn to a light straw color, and this may be done as follows: Get a piece of cast-iron tube about 3 inches in diameter and heat it to a dull-red heat for about 4 inches of its length. Then hold the tap, with the tongs, up the center of the tube, mean- while turning the tap around until the straw color appears all over it. Then dip the tap in the water, when it will be found perfectly hard. The depth of the color, whether light or dark straw, must be determined by the nature of the cast steel being used, which can be gained only from experience of the steel. Scissors Hardening. — The united legs of the scissors are uniformly heated to a dark cherry red, extending from the point to the screw or rivet note. This may be done in the naked fire, a feeble current of air being admitted until the steel commences to glow. Then the fire is left to itself and the scissor parts are drawn to and fro in the fire, until all the parts to be hardened show a uniform dark cherry red. The two legs are hardened together in water and then tempered purple red to violet. The simultaneous heating, hardening, and tempering of the parts belonging together is necessary, so that the degree of heat is the same and the harder part does not cut the softer one. In accordance with well-known rules, the immersion in the hardening bath should be done with the point first, slowly and vertically up to above the riveting hole. Hardening without Scaling. — Articles made of tool steel and polished may be hardened without raising a scale, thereby destroying the polish, by the following method: Prepare equal parts in bulk of common salt and (fine) corn meal, well mixed. Dip the article to be hardened first into water, then into the mixture and place it carefully into the fire. When hot enough to melt the mixture, take from 686 STEEL the fire and dip or roll in the salt and meal, replace in the fire and bring to the required heat for hardening. Watch the piece closely and if any part of it shows signs of getting dry, sprinkle some of the mixture on it. The mixture, when exposed to heat, forms a flux over the surface of the steel which excludes the air and prevents oxidation, and when cooled in water or oil comes off easily, leaving the surface as smooth as before heating. Borax would possibly give the same result, but is sometimes difficult to remove when cold. Hardening with Glycerine. — I. — The glycerine employed must be of the density of 1.08 to 1.26 taken at the temperature of 302° F. Its weight must be equal to about 6 times the weight of the pieces to be tempered. For hard temper add to the glycerine J to 4 per cent of sulphate of potash or of manganese, and for soft temper 1 to 10 per cent of chloride of manganese, or 1 to 4 per cent of chloride of potassium. The temperature of the tempering bath is varied according to the results desired. II.— Glycerine, 8,000 parts, by weight; cooking salt, 500 parts, by weight; sal ammoniac, 100 parts, by weight; con- centrated hydrochloric acid, 50 parts; and water, 10,000 parts, by weight. Into this liquid the steel, heated, for example, to a cherry red, is dipped. A reheating of the steel is not necessary. To Remove Burnt Oil from Hardened Steel. — -To remove excess oil from parts that have been hardened in oil, place the articles in a small tank of gasoline, which, when exposed to the air, will dry off immediately, allowing the part to be polished and tempered without the con- fusing and unsightly marks of burnt oil. VARIOUS RECIPES: To Put an Edge on Steel Tools. — Aluminum will put an edge on fine cut- ting instruments such as surgical knives, razors, etc. It acts exactly like a razor- hone of the finest quality. When steel is rubbed on the aluminum, as, for in- stance, in honing a knife blade, the met- al disintegrates, forming an infinitely minute powder of a greasy unctuous quality that clings to steel with great tenacity and thus assists in cutting away the surface of the harder metal. So fine is the edge produced that it can in no wise be made finer by the strop, which used in the ordinary way merely tends to round the edge. To Restore Burnt Steel.— To restore burnt cast steel heat the piece to a red heat and sprinkle over it a mixture of 8 parts red chromate of potassium; 4 parts saltpeter; J part aloes; i part gum arabic; and J part rosin. To Remove Strains in Metal by Heat- ing.— In making springs of piano wire, or, in fact, any wire, if the metal is heated to a moderate degree the spring will be improved. Piano or any steel wire should be heated to a blue, brass wire to a degree sufficient to cause tal- low to smoke. Heating makes the met- al homogeneous; before heating, it is full of strains. If a piece of metal of any kind is straightened cold and then put into a, lathe and a chip turned off, it will be far from true. Before turning, it was held true by the strain of the particles on the outside, they having changed position, while the particles near the axis are only sprung. The outside particles being removed by the lathe tool, the sprung particles at the center return to their old positions. If, after straightening, the metal is heated to a temperature of 400° F., the particles settle together and the strains are re- moved. This is the case in the manufacture of saws. The saw is first hardened and tempered and then straightened on an anvil by means of a hammer. After it is hammered true, it is ground and polished a little, then blued to stiffen it and then is subjected to the grinding process. Before bluing, the metal is full of strains; these are entirely removed by the heat required to produce the blue color. Often a piano-wire spring will not stand long wear if used without heating, while if heated it will last for years. To Render Fine Cracks in Tools Visi- ble. — It is often of importance to recog- nize small cracks which appear in the metal of the tools. For this purpose it is recommended to moisten the fissured surface with petroleum; next rub and dry with a ras and rub again, but this time with chalk. The petroleum which has entered the cracks soon comes out again and the trace is plainly shown by the chalk. To Utilize Drill Chips. — There is one modern machining process that produces a shaving that has more value than that of mere scrap, and that is drilling rifle barrels with the oil-tube drill. The cutting edge of this drill is broken up in- to steps and the chips produced are liter- ally shavings, being long hair-like threads of steel. These shavings are consider- ably used in woodworking factories for smoothing purposes. STEEL 687 To Remove Fragments of Steel from Other Metals. — The removal of broken spiral drills and taps is an operation which even the most skillful machinist has to perform at times. A practical process for removing such broken steel pieces consists in preparing in a suitable Kettle (not iron) a solution of 1 part, by weight, of commercial alum in 4 to 5 parts, by weight, of water and boiling the object in this solution until the piece which is stuck works itself out. Care must be taken to place the piece in such a position that the evolving gas bubbles may rise and not adhere to the steel to protect it from the action of the alum solution. Testing Steel. — A bar of the steel to be tested is provided with about nine notches running around it in distances of about I of an inch. Next, the foremost notched piece is heated in a forge in such a manner that the remaining por- tion of the bar is heated less by the fire proper than by the transmitted heat. When the foremost piece is heated to burning, i. c, to combustion, and the color of the succeeding pieces gradually passes to dark-brownish redness, the whole rod is hardened. A test with the file will now show that the foremost burned piece possesses the greatest hard- ness, that several softer pieces will follow, and that again a. piece ordinarily situ- ated in the second third, whose tempera- ture was the right one for hardening, is almost as hard as the first one. If the different pieces are knocked off, the fracture of the piece hardened at the correct temperature exhibits the finest grain. This will give one an idea of the temperature to be employed for harden- ing the steel in question and its behavior in general. Very hard steel will readily crack in this process. Welding Compound. — Boracic acid, 41 J parts; common salt 35 parts; ferro- cyanide of potassium, 20 parts; rosin, 7i parts; carbonate of sodium, 4 parts. Heat the pieces to be welded to a light- red heat and apply the compound; tnen heat to a strong yellow heat and the welding may be accomplished in the usual manner. The precaution should be observed, the same as with any of the cyanides, to avoid breathing the poisonous fumes. Softening Steel. — ^Heat the steel to a brown red and plunge into soft water, river water being the best. Care should be taken, however, not to heat over brown red, otherwise it will be hard when im- mersed. The steel will be soft enough to be cut with ease if it is plunged in the water as soon as it turns red. Draw-Tempering Cast Steel.— First heat the steel lightly by means of char- coal until of a cherry-red shade, where- upon it is withdrawn to be put quickly into ashes or dry charcoal dust until completely cooled. The steel may also be heated in the forge to a red cherry color, then hammered until it turns blue and then plunged into water. Drilling Hard Steel. — To accomplish the object quickly, a drill of cast steel should be made, the point gradually heated to the red, the scales taken off, and the extremity of the point immersed at once in quicksilver; then the whole quenched in cold water. Thus ()repared, the drill is equal to any emergency; it will bore through the hardest pieces. The quantity of quicksilver needed is trifling. Engraving or Etching on Steel. — Dis- solve in 150 parts of vinegar, sulphate of copper, 30 parts; alum, 8 parts; kitchen salt, 11 parts. Add a few drops of nitric acid. According to whether this liquid is allowed to act a longer or shorter time, the steel may be engraved upon deeply or the surface may be given a very ornamental, frosted appearance. To Distinguish Steel from Iron. — Take a very clean file and file over the flame of an alcohol lamp. If the filed piece is made of steel, little burning and crack- ling sparks will be seen. If it consists of iron, the sparks will not crackle. STEEL, BROWNING OF: See Plating. STEEL, DISTINGUISHING IRON FROM: See Iron. STEEL ETCHING: See Etching. STEEL-HARDENING POWDER: See Iron. STEEL, OXIDIZED: See Plating. STEEL PLATING: See Plating. STEEL POLISHES: See Polishes. STEEL, TO CLEAN: See Cleaning Preparations and Meth- ods. 688 STEREOCHROMY— STONE STENCILS FOR PLOTTING LETTERS OF SIGN PLATES: See Enameling. STENCIL INKS: See Inks. STEREOCHROMY. Stereochromatic colors can be bought ground in a thickly liquid water-glass solution. They are only diluted with water-glass solution before application on the walls. The two solutions are generally slightly dissimilar in their composition, the former containing less silicic acid, but more alkali, than the latter, which is necessary for the better preservation of the paint. Suitable pig- ments are zinc white, ocher with its different shades of light yellow, red, and dark brown, black consisting of a mix- ture of manganese and lampblack, etc., etc. White lead cannot be used, as it coagulates with the water glass, nor vermilion, because it fades greatly under the action of the light. The plastering to be coated must be porous, not fresh, but somewhat hardened. Otherwise the caustic lime of the plaster will quickly decompose the water glass. This circumstance may account for the un- satisfactory results which have fre- quently been obtained with water-glass coatings. Before applying the paint the wall should first be impregnated with a water-glass solution. The colors may be kept on hand ground, but must be protected from contact with the air. If air is admitted a partial separation of silica in the form of a jelly takes place. Only pure potash water glass, or, at least, such as only contains little soda, should be used, as soda will cause efflor- STEREOPTICON SLIDES: See Photography. STEREOTYPE METAL: See Alloys. STONE, ARTIFICIAL. The following is a process of manu- facture in which the alkaline silicates prepared industrially are employed. The function of the alkaline silicates, or soluble glass, as constituents of arti- ficial stone, is to act as a cement, forming with the alkaline earths, alumina, and oxide of lead, insoluble silicates, which weld together the materials (quartz sand. pebbles, granite, fluorspar, and the waste of day bricks). The mass may be colored black by the addition of a quantity of charcoal or graphite to the extent of 10 per cent at the maximum, binoxide of manganese, or ocher; red, by 6 per cent of coTcothar; brick red, by 4 to 7 per cent of cinnabar; orange, by 6 to 8 per cent of red lead; yellow, by 6 per cent of yellow ocher, or 5 per cent of chrome yellow; green, by 8 per cent of chrome green; blue, by 6 to 10 per cent of IVeuwied blue, Bremen blue, Cassel blue, or Napoleon blue; and white, by 20 per cent, at the maximum, of zinc white. Chrome green and zinc oxide pro- duce an imitation of malachite. An imitation of lapis lazuli is obtained by the simultaneous employment of Cassel blue and pyrites in grains. The metallic oxides yield the corresponding silicates, and zinc oxide, mixed with cleansed chalk, yields a brilliant marble. The ingredients are mixed in a kind of mechanical kneading trough, furnished with stirrers, in variable proportions, according to the percentage of the solu- tion of alkaline silicate. The whole is afterwards molded or compressed by the ordinary processes. The imitation of granite is obtained by mixing lime, 100 parts; sodium silicate (42° Be.), 35 parts; fine quartz sand, 120 to 180 parts; and coarse sand, 180 to 250 parts. Artificial basalt may be prepared by adding potassium sulphite and lead acetate, or equal parts of antimony ore and iron filings. To obtain artificial marble, 100 pounds of marble dust or levigated chalk are mixed with 20 parts of ground glass and 8 parts of fine lime and sodium silicate. The coloring matter is mixed in proportion depending on the effect to be produced. A fine product for molding is obtained by mixing alkaline silicate, 100 parts; washed chalk, 100 parts; slaked lime, 40 parts; quick lime, 40 parts, fine quartz sand, 200 parts; pounded glass, 80 parts; infusorial earths, 80 parts; fluorspar, 150 parts. On hardening, there is much contraction. Other kinds of artificial stone are prepared by mixing hydraulic lime or cement, 50 parts; sand, 200 parts; sodium silicate, in dry powder, 50 parts; the whole is moistened with 10 per cent of water and molded. A hydraulic cement may be employed, to which an alkaline silicate is added. The stone or object molded ought to be covered with a layer of fluosilicate. STONE 689 A weather-proof water-resisting stone is manufactured from sea mud, to which 5 per cent of calcic hydrate is added. The mass is then dried, lixiviated, and dried once more at 212° P., whereupon the stones are burned. By an admixture of crystallized iron sulphate the firmness of these stones is still increased. Sand -Lime Brick. — In a French patent for making bricks from pitch and coal tar, powdered coke and sea sand are gently heated in a suitable vessel, and 20 per cent of pitch and 10 per cent of coal tar added, with stirring. The pasty mass obtained is then molded under pressure. The product obtained may be employed alone, or together with a framework of iron, or with hydraulic lime or cement. According to a French patent for veining marble, etc., in one or more colors, coloring matters of all kinds are mixed with a sticky liquid, which is then spread in a very thin layer on the surface of another immiscible and heavier liq- uid. By agitating the surface, colored veins, etc., are obtained, which are then transferred to the object to be decorated (which may be of most varied kind) by applying it to the surface of the heavy liquid. A suitable composition with which the colors may be mixed consists of: Oil of turpentine, 100 parts; colo- phony, 10 parts; linseed oil, 10 parts; siccatif soleil, 5 parts. The heavy liq- uid may be water, mercury, etc.; and any colors, organic or mineral, may be used. CONCRETE. Concrete is the name applied to an artificial combination of various mineral substances which under chemical action become incorporated into a solid mass. There are one or two compositions of comparatively trifling importance which receive the same name, though differing fundamentally from true concrete, their solidification being independent of chem- ical influence. These compositions only call for passing mention; they are: Tar concrete, made of broken stones (mac- adam) and tar; iron concrete, composed of iron turnings, asphalt, bitumen, and Eitch ; and lead concrete, consisting of roken bricks set in molten lead. The last two varieties, with rare exceptions, are only used in connection with military engineering, such as for fortifications. Concrete proper consists essentially of two groups or classes of ingredients. The first, termed the aggregate, is a hetero- geneous mass, in itself inactive, of mineral material, such as shingle, broken stone, broken brick, gravel, and sand. These are the substances most com- monly in evidence, but other ingredients are also occasionally employed, such as slag from iron furnaces. Burnt clay, in any form, and earthenware, make ad- mirable material for incorporation. The second class constitutes the active agency which produces adhesion and solidifica- tion. It is termed the matrix, and con- sists of hydraulic lime or cement, com- bined with wat«r. One of the essential features in good concrete is cleanliness and an entire absence of dirt, dust, greasy matter, and impurities of any description. The ma- terial will preferably be sharp and angu- lar, with a rough, porous surface, to which the matrix will more readily adhere than to smooth, vitreous sub- stances. The specific gravity of the ag- gregate will depend upon the purpose for which the concrete is to be used. For beams and lintels, a light aggregate, such as coke breeze from gasworks, is per- missible, especially when the work is designed to receive nails. On the other hand, for retaining walls, the heaviest possible aggregate is desirable on the ground of stability. The aggregate by no means should be uniform in size. Fragments of different dimensions are most essential, so that the smaller material may fill up the interstices of the larger. It is not in- frequently stipulated by engineers that no individual fragment shall be more than 4 inches across, and the material is often specified to pass through a ring IJ to 2 inches in diameter. The absolute limits to size for the aggregate, however, are determinable by a number of con- siderations, not the least important of which is the magnitude and bulk of the work in which it is to be employed. The particles of sand should also be of vary- ing degrees of coarseness. A fine, dust- like sand is objectionable; its minute subdivision prevents complete contact with the cement on all its faces. Another desideratum is that the particles should not be too spherical, a condition brought about by continued attrition. Hence, pit sand is better in many cases than river sand or shore sand. The matrix is almost universally Portland cement. It should not be used in too hot a condition, to which end it is usually spread over a wooden floor to a depth of a few inches, for a few days prior to use. By this means, the alumin- ate of lime becomes partially hydrated, and its activity is thereby modified. 690 STONE Roman cement and hydraulic lime may also be used as matrices. Portland cement will take a larger proportion of sand than either Roman cement or hydraulic lime; but with the larger ratios of sand, its tenacity is, of course, correspondingly reduced. One part of cement to 4 parts of sand should therefore be looked upon as the upper limit, while for the strongest mortar the proportion need hardly exceed 1 part of cement to 1 J or 2 parts of sand. In the ensuing calculations there is assumed a ratio of 1 to 3. For impermeability, the proportion of 1 to 2 should be observed, and for Roman cement this proportion should never be exceeded. The ratio will even advantageously be limited to 2 to 3. For hydraulic lime equal parts of sand and cement are suitable, though 2 parts of sand to 1 part of cement may be used. The quantity of mortar required in reference to the aggregate is based on the vacuities in the latter. For any particu- lar aggregate the amount of empty space may be determined by filling a tank of known volume with the minerals and then adding sufficient water to bring to a level surface. The volume of water added (provided, of course, the aggregate be impervious or previously saturated) gives the net volume of mortar required. To this it is necessary to make some ad- dition (say 10 per cent of the whole), in order to insure the thorough flushing of every part of the work. Assuming that the proportion of interstices is 30 per cent and adding 10 for the reason just stated, we derive 40 parts as the quantity of mortar to 100 — 10 = 90 parts of the aggregate. An allowance of J volume for shrinkage brings the volume of the dry materials (sand and cement) of the mortar to 40-1-40/3 = 53J parts, which, divided in the ratio of 1 to 3, yields: 531 Cement — r^ = 13J parts 4 Sand, f X 53J - 40 parts Aggregate..... 90 parts Total 143i parts As the resultant concrete is 100 parts, the total shrinkage is 30 per cent. Expressed in terms of the cement, the concrete would have a composition of 1 part cement, 3 parts sand, 7 parts gravel and broken stone, and it would form, approximately, what is commonly known as 7 to 1 concrete. There are other ratios depending on the proportion of sand. Thus we have: Cement Sand Aggregate 1 14 4i 1 2 5 1 2i 6 1 3 7 1 3h 7i 1 4 8i The cost of concrete may be materially reduced without affecting the strength or efficacy of the work, by a plentiful use of stone "plums" or "burrs." These are bedded in the fluid concrete during its deposition in situ, but care must be taken to see that they are thoroughly sur- rounded by mortar and not in contact with each other. Furthermore, if they are of a porous nature, they should be weir wetted before use. The mixing of concrete is important. If done by hand, the materials forming the aggregate will be laid out on a plat- form and covered by the cement in a thin layer. The whole should be turned over thrice in the dry state, and as many times wet, before depositing, in order to bring about thorough and complete amalgamation. Once mixed, the con- crete is to be deposited immediately and allowed to remain undisturbed until the action of setting is finished. Deposition should be effected, wherever possible, without tipping from a height of more than about 6 feet, as in greater falls there is a likelihood of the heavier portions of the aggregate separating from the lighter. In extensive undertakings, concrete is more economically mixed by mechanical appliances. The water used for mixing may be either salt or fresh, so far as the strength of the concrete is concerned. For surface work above the ground level, salinity in any of the ingredients is objectionable, since it tends to produce efflorescence — an unsightly, floury deposit, difficult to get rid of. The quantity of water re- cfuired cannot be stated with exactitude; it will depend upon the proportion of the aggregate and its porosity. It is best determined by experiment in each par- ticular case. Without being profuse enough to "drown" the concrete, it should be plentiful enough to act as an efficient intermediary between every particle of the aggregate and every particle of the matrix. InsuflScient moisture is, in fact, as deleterious as an excess. Voids. — The strength of concrete de- pends greatly upon its density, and this is secured by using coarse material which contains the smallest amount of voids or empty spaces. Different kinds of sand, STONE 691 gravel, and stone vary greatly in the amount of voids they contain, and by judiciouslv mixing coarse a,nd fine material the voids may be much reduced and the density increased. The density and percentage of voids in concrete ma- terial may be determined by filling a box of 1 cubic foot capacity and weighing it. One cubic foot of solid quartz or lime- stone, entirely free from voids, would weigh 166 pounds, and the amount by which a cubic foot of any loose material falls short of this weight represents the proportion of voids contained in it. For example, if a cubic foot of sand weighs 115J pounds, the voids would be 49J-165ths of the total volume, or 30 per cent. The following table gives the per cent of voids and weight per cubic foot of some common concrete materials: Per Cent Wt. per Voids Cu. Ft. Sandusky Bay sand. 32.3 111.7 pounds Same through 20- mesh screen 38.5 101.5 pounds Gravel, J to J inch.. ..42.4 95.0 pounds Broken limestone, egg-size 47.0 87.4 pounds Limestone screen- ings, dust to 4 inch 26.0 122.2 pounds It will be noted that screening the sand through a 20-mesh sieve, ana thus taking out the coarse grains, consider- ably increased the voids and reduced the weight; thus decidedly injuring the sand for making concrete. The following figures show how weight can be increased and voids reduced by mixing fine and coarse material: Per Cent Wt. per Voids Cu. Ft. Pebbles, about 1 inch 38.7 101.2 pounds Sand, 30 to 40 mesh . 35.9 105.8 pounds Pebbles plus 38.7 per cent sand, by vol. . 19.2 133.5 pounds Experiments have shown that the strength of concrete increases greatly with Its density; in fact, a slight increase in weight per cubic foot adds very de- cidedly to the strength. The gain in strength obtained by adding coarse material to mixtures of cement and sand is shown in the fol- lowing table of results of experiments made in Germany by R. Dykerhoff. The blocks tested were 2J-incn cubes, 1 day in air and 27 days in water. Proportions by Measure. Per Cent. Cement. Com- pression Strength. Cement. Sand. Gravel. By Volume. Lbs. per Sq. In. o 2 3 3 i 4 'si 33 12.5 25.0 9.5 20.0 7.4 2,125 2,387 1,383 1,515 1,053 1,204 These figures show how greatly the strength is improved by adding coarse material, even though the proportion of cement is thereby reduced. A mixture of 1 to 12i of properly proportioned sand and gravel is, in fact, stronger than 1 to 4, and nearly as strong as 1 to 3, of cement and sand only. In selecting materials for concrete, those should be chosen which give the greatest density. If it is practicable to mix two materials, as sand and gravel, the proportion which gives the greatest density should be determined by ex- periment, and rigidly adhered to in making concrete, whatever proportion of cement it is decided to use. Well-pro- portioned dry sand and gravel or sand and broken stone, well shaken down, should weigh at least 125 pounds per cubic foot. Limestone screenings, owing to minute pores in the stone itself, are somewhat lighter, though giving equally strong concrete. They should weigh at least 120 pounds per cubic foot. If the weight is less, there is probably too much fine dust in the mixture. The density and strength of concrete are also greatly improved by use of a liberal amount of water. Enough water must be used to make the concrete thoroughly soft and plastic, so as to quake strongly when rammed. If mixed too dry it will never harden properly, and will be light, porous, and crum- bling. Thorough mixing of concrete materials is essential, to increase the density and give the cement used a chance to produce its full strength. The cement, sand, and gravel should be intimately mixed dry, then the water added and the mixing continued. If stone or coarse gravel is added, this should be well wetted and thoroughly mixed with the mortar. Materials for Concrete Building Blocks. — In the making of building blocks the spaces to be filled with concrete are gen- erally too narrow to permit the use of very coarse material, and the block- 692 STONE maker is limited to gravel or stone not exceeding i or | inch in size. A con- siderable proportion of coarse material is, however, just as necessary as in other kinds of concrete v?ork, and gravel cr screenings should be chosen which will give the greatest possible density. For good results, at least one-third of the material, by weight, should be coarser than J inch. Blocks made from such gravel or screenings, 1 to 5, will be found as good as 1 to 3 with sand only. It is a mistake to suppose that the coarse fragments will show on the surface; if the mixing is thorough this will not be the case. A moderate degree of rough- ness or variety in the surface of blocks is, in fact, desirable, and would go far to overcome the prejudice which many architects hold against the smooth, life- less surface of cement work. Sand and gravel are, in most cases, the cheapest material to use ior block work. The presence of a few per cent of clay or loam is not harmful provided the mixing is thorough. Stone screenings, if of good quality, give fully as strong concrete as sand and gravel, and usually yield blocks of somewhat lighter color. Screen- ings from soft stone should be avoided, also such as contain too much dust. This can be determined from the weight per cubic foot, and by a sifting test. If more than two-thirds pass J mch, and the weight (well jarred down) is less than 120 pounds, the material is not the best. Cinders are sometimes used for block work; they vary greatly in quality, but if clean and of medium coarseness will give fair results. Cinder concrete never de- velops great strength, owing to the por- ous character and crushability of the cinders themselves. Cinder blocks may, however, be strong enough for many purposes, and suitable for work in which great strength is not required. Lime. — It is well known that slaked lime is a valuable addition to cement mortar, especially for use in air. In sand mixtures, 1 to 4 or 1 to 5, at least one-third of the cement may be replaced by slaked lime without loss of strength. The most convenient form of lime for use in block-making is the dry-slaked or hydrate lime, now a common article of commerce. This is, however, about as expensive as Portland cement, and there is no great saving in its use. Added to block concrete, in the proportion of J to J the cement used, it will be found to make the blocks lighter in color, denser, and decidedly less permeable by water. Cement. — Portland cement is the only hydraulic material to be seriously con- sidered by the blockmaker. Natural and slag cements and hydraulic lime are useful for work which remains constantly wet, but greatly inferior in strength and durability when exposed to dry air. A further advantage of Portland cement is the promptness with which it hardens and develops its full strength; this quality alone is sufficient to put all other cements out of consideration for block work. Proportions. — There are three im- portant considerations to be kept in view m adjusting the proportions of materials for block concrete — strength, permea- bility, and cost. So far as strength goes, it may easily be shown that concretes very poor in cement, as 1 to 8 or 1 to 10, will have a crushing resistance far be- yond any load that they may be called upon to sustain. Such concretes are, however, extremely porous, and absorb water like a sponge. The blocks must bear a certain amount of rough hand- ling at the factory and while being carted to work and set up in the wall. Safety in this respect calls for a much greater degree of hardness than would be needed to bear the weight of the building. Again, strength and hardness, with a given pro- portion of cement, depend greatly on the character of the other materials used; blocks made of cement and sand, 1 to 3, will not be so strong or so impermeable to water as those made from a good mixed sand and gravel, 1 to 5. On the whole, it is doubtful whether blocks of satisfactory quality can be made, by hand mixing and tamping, under ordinary factory conditions, from a poorer mixture than 1 to 5. Even this proportion requires for good results the use of properly graded sand and gravel or screenings, a liberal amount of water, and thorough mixing and tamping. When suitable gravel is not obtainable, and coarse mixed sand only is used, the proportion should not be less than 1 to 4. Fine sand alone is a, very bad material, and good blocks can- not be made from it except by the use of an amount of cement which would make the cost very high. The mixtures above recommended, 1 to 4 and 1 to 5, will necessarily be some- what porous, and may be decidedly so if the gravel or screenings used is not properly graded. The _ water-resisting qua.ities may be greatly improved, without loss of strength, by replacing a part of the cement by hydrate lime. This is a light, extremely fine material, and a given weight of it goes much further than the STONE 693 same amount of cement in filling the pores of the cdjncrete. It has also the efiFect of making the wet mixture more plastic and mpre easily compacted by ramming, and gives the finished blocks a l^hter color. The following mixtures, then, are to be recommended for concrete blocks. By "gravel" is meant a suitable mix- ture of sand and gravel, or stone screen- ings, containing grains of all sizes, from fine to § inch. 1 to 4 Mixtures, by Weight. Cement, 150 parts; gravel, 600 parts. Cement, 125 parts; hydrated lime, 25 parts; gravel, 600 parts. Cement, 100 parts; hydrated lime, 50 parts; gravel, 600 parts. 1 to 5 Mixtures, by Weight. Cement, 120 parts; gravel, 600 parts. Cement, 100 parts; hydrated lime, 20 parts; gravel, 600 parts. Proportion of Water. — ^This is a matter of the utmost consequence, and has more effect on the quality of the work than is generally supposed. Blocks made from too dry concrete will always remain soft and weak, no matter how thoroughly sprinkled 'afierwards. On the other hand, if blocks are to be re- moved from the machine as soon as made, too much water will cause them to stick to the plates and sag out of shape. It is perfectly possible, how- ever, to give the concrete enough water for maximum density and first-class hardening properties, and still to remove the blocks at once from the mold. A good proportion of coarse material allows the mixture to be made wetter without sticking or sagging. Use of plenty of water vastly improves the strength, hardness, and waterproof qual- ities of blocks, and makes them decid- edly lighter in color. The rule should be: Use as much water as possible with- out causing the blocks to stick to the plates or to sag out of shape on removing from the machine. The amount of water required to pro- duce this result varies with the materials used, but is generally from 8 to 9 per cent of the weight of the dry mixture. A prac- ticed blockmaker can judge closely when the right amount of water has been added, by squeezing some of the mixture in the hand. Very slight variations in propor- tion of water make such a marked differ- ence in the quality and color of the blocks that the water, when the proper quantity for the materials used has been deter- mined, should always be accurately meas- ured out for each batch. In this way much time is saved and uncertainty avoided. Facing. — Some blockmakers put on a facing of richer and finer mixture, making the body of the block of poorer and coarser material. As will be ex- plained later, the advantage of the prac- tice is, in most cases, questionable, but facings may serve a good purpose in case af colored or specially waterproof surface is required. Facings are generally made of cement and sand, or fine screenings, Eassing a J-inch sieve. To get the same ardness and strength as a 1 to 5 gravel mixture, at least as rich a facing as 1 to 3 will be found necessary. Probably 1 to 2 will be found better, and if one- third the cement be replaced by hydrate lime the waterproof qualities and ap- pearance ojf the blocks will be improved. A richer facing than 1 to 2 is liable to show greater shrinkage than the body of the block, and to adhere imperfectly or develop hair-cracks in consequence. Poured Work. — The above sugges- tions on the question of proportions of cement, sand, and gravel for tamped blocks apply equally to concrete made very wet, poured into the mold, and allowed to harden a day or longer before removing. Castings in a sand mold are made by the use of very liquid concrete; sand and gravel settle out too rapidly from such thin mixtures, and rather fine limestone screenings are generally used. Mixing. — ^To get the full benefit of the cement used it is necessary that all the materials shall be very thoroughly mixed together. The strength of the block as a whole will be only as great as that of its weakest part, and it is the height of folly, after putting a liberal measure of cement, to so slight the mixing as to get no better result than half as much ce- ment, properly mixed, would have given. The poor, shoddy, and crumbly blocks turned out by many small-scale makers owe their faults chiefly to careless mixing and use of too little water, rather than to too small proportion of cement. The materials should be mixed dry, until the cement is uniformly distributed and perfectly mingled with the sand and gravel or screenings; then the water is to be added and the mixing continued until all parts of the mass are equally moist and every particle is coated with the cement paste. Concrete Mixers. — Hand mixing is always imperfect, laborious, and slow. 694 STONE and it is impossible by this method to secure the thorough stirring and knead- ing action which a good mixing machine gives. If a machine taking 5 or 10 horse-power requires 5 minutes to mix one-third of a yard of concrete, it is of course absurd to expect that two men will do the same work by hand in the same time. And the machine never gets tired or shirks if not constantly urged, as it is the nature of men to do. It is hard to see how the manufacture of concrete blocks can be successfully carried on without a concrete mixer. Even for a small business it will pay well in economy of labor and excellence of work to install such a machine, which may be driven by a small electric motor or gasoline engine. In work necessarily so exact as this, requiring perfectly uniform mixtures and use of a constant percentage of water, batch mixers, which take a meas- ured quantity of material, mix it, and discharge it, at each operation, are the only satisfactory type, and continuous mixers' are unsuitable. Those of the pug-mill type, consisting of an open trough with revolving paddles and bot- tom discharge, are positive and thorough in their action, and permit the whole operation to be watched and controlled. They should be provided with exten- sible arms of chilled iron, which can be lengthened as the ends become worn. Concrete Block Systems. — For smaller and less costly buildings, separate blocks, made at the factory and built up into the walls in the same manner as brick or blocks of stone, are simpler, less ex- pensive, and much more rapid in con- struction than monolithic work. They also avoid some of the faults to which solid concrete work, unless skillfully done, is subject, such as the formation of shrinkage cracks. There are two systems of block mak- ing, diifering in the consistency of the concrete used: 1. Blocks tamped or pressed from semi-wet concrete, and removed at once from the mold. 2. Blocks poured or tamped from wet concrete, and allowed to remain in the mold until hardened. Tataped Blocks from Semi-Wet Mix- ture. — These are practically always made on a block machine, so arranged that as soon as a block is formed the cores and side plates are removed and the block lifted from the machine. By far the larger part of the blocks on the market are made in this way. Usually these are of the oiic-piece type, in which a single block, provided with hollow cores, mates the whole thickness of the wall. Another plan is the two-piece system, in which the face and back of the wall are made up of different blocks, so lapping over each other as to give a bond and hold the wall together. Blocks of the two-piece type are generally formed in a hand or hydraulic press. Various shapes and sizes of blocks are commonly made; the builders of the most popular machines have, however, adopted the standard length of 32 inches and height of 9 inches for the full-sized block, with thickness of 8, 10, and 12 inches. Lengths of 24, 16, and 8 inches are also obtained on the same machines by the use of parting plates and suitably divided face plates; any intermediate lengths and any desired heights may be produced by simple adjustments or blocking off. Blocks are commonly made plain, rock-faced, tool-faced, paneled, and of various ornamental patterns. New de- signs of face plates are constantly being added by the most progressive machine makers. Block Machines. — There are many good machines on the market, most of which are of the same general type, and differ only in mechanical details. They may be divided into two classes: those with vertical and those with horizontal face. In the former the face plate stands vertically, and the block is simply lifted from the machine on its base plate as soon as tamped. In the other type the face plate forms the bottom of the mold; the cores are withdrawn horizon- tally, and by the motion of a lever the block with its face plate is tipped up into a vertical position for removal. In case it is desired to put a facing on the blocks, machines of the horizontal-face type are considered the more convenient, though a facing may easily be put on with the vertical-face machine by the use of a parting plate. Blocks Poured from Wet Concrete. — As alreadj' stated, concrete made too dry is practically worthless, and an ex- cess of water is better than a deficiency. The above-described machine process, in which blocks are tamped from damp concrete and at once removed, gives blocks of admirable hardness and quality if the maximum of water is used. A method of making blocks from very wet concrete, by the use of a large number of separable molds of sheet steel, into which the wet concrete is poured and in which the blocks are left to harden for 24 STONE 695 hours or longer, has come into consider- able use. By this method blocks of excellent hardening and resistance to water are certainly obtained. Whether the process is the equal of the ordinary machine method in respect of economy and beauty of product must be left to the decision of those who have had actual experience with it. The well-known east-stone process consists in pouring liquid concrete mix- ture into a sand mold made from a pattern in a manner similar to that in which molds for iron castings are pro- duced. The sand absorbs the surplus water from the liquid mixture, and the casting is left in the mold for 24 hours or longer until thoroughly set. This process necessitates the making of a new sand mold for every casting, and is neces- sarily much less rapid than the machine method. It is less extensively used for building blocks than for special orna- mental architectural work, sills, lintels, columns, capitals, etc., and for purposes of this kind it turns out products of the highest quality and beauty. Tamping of Concrete Blocks. — This is generally done by means of hand rammers. Pneumatic tampers, operat- ed by an air compressor, are in use at a few plants, apparently with considerable saving in time and labor and improve- ments in quality of work. Hand tamping must be conscientious and thorough, or poor work will result. It is important that the mold should be filled a little at a time, tamping after each addition; at least four fillings and tampings should be given to each block. If the mixtirre is wet enough no noticeable layers will be formed by this process. Hardening and Storage. — Triple- decked cars to receive the blocks from the machines will be found a great sav- ing of labor, and are essential in factories of considerable size. Blocks will gener- ally require to be left on the plates for at least 24 hours, and must then be kept under roof, in a well-warmed room, with frequent sprinkling, for not less than 5 days more. They may then be piled up out of doors, and in dry weather should be wetted daily with a hose. Alternate wetting and drying is especially favor- able for the hardening of, cement, and concrete so treated gains much greater strength than if kept continuously in water or dry air. Blocks should not be used in building until at least 4 weeks from the time they are made. During this period of sea- soning, blocks T/ill oe found to shrink at least tV inch in length, and if built up in a wail when freshly made, shrinkage cracks in the joints or across the blocks will surely appear. Efflorescence, or the appearance of u white coating on the surfaces, sometimes takes place when blocks are repeatedly saturated with water and then dried out; blocks laid on the ground arc more liable to show this defect. It results from diffusion of soluble sulphates of lime and alkalies to the surface. It tends to dis- appear in time, and rarely is sufficient in amount to cause any complaint. Properties of Concrete Blocks — Strength. — In the use of concrete blocks for the walls of buildings, the stress to which they are subjected is almost en- tirely one of compression. In compres- sive strength well-made concrete does not differ greatly from ordinary building stone. It is difficult to find reliable records of tests of sand and gravel con- crete, 1 to 4 and 1 to 5, such as is used in making blocks; the following figures show strength of concrete of approxi- mately this richness, also the average of several samples each of well-known building stones, as stated by the author- ities named: Limestone, Bedford, Ind. (Indiana Geographical Survey) 7,792 pounds Limestone, Marblehead, Ohio (Q. A. Gillmore) 7,393 pounds Sandstone, N. Amherst, Ohio (Q. A. Gill- more) 5,831 pounds Gravel concrete, 1:1.0- :2.8, at 1 year (Cand- lot) 5,500 pounds Gravel concrete, 1:1.6- :3.7, at 1 year (Cand- lot) 5,050 pounds Stone concrete, 1:2:4 at 1 year (Boston El. R. R.) 3,904 pounds Actual tests of compression strength of hollow concrete blocks are difficult to make, because it is almost impossible to apply the load uniformly over the whole surface, and also because a block 16 inches long and 8 inches wide will bear a load of 150,000 to 200,000 pounds, or more than the capacity of any but the largest testing machines. Three one- quarter blocks, 8 inches long, 8 inches wide, and 9 inches high, with hollow space equal to one-third of the surface, tested at the Case School of Science, showed strengths of 1,805, 2,000, and 696 STONE 1,530 pounds per square inch, respec- tively, when 10 weeks old. Two blocks 6X8X9 inches, 22 months old, showed crushing strength of 2,530 and .2,610 pounds per square inch. These blocks were made of cement IJ parts, lime J part, sand and gravel 6 parts, and were tamped from damp mixture. It is probably safe to assume that the minimum crushing strength of well-made blocks, 1 to 5, is 1,000 pounds per square inch at 1 month and 2,000 pounds at 1 year. A block 12 inches wide and 24 inches long has a, total surface of 288 square inches, or, deducting J for openings, a net area of 192 inches. Such a block, 9 inches high, weighs 130 pounds. As- suming a strength of 1,000 pounds and a factor of safety of 5, the safe load would be 200 pounds per square inch, or 200 X 192 = 38,400 pounds for the whole surface of the block. Dividing this by the weight of the block, 130 pounds, we find that 295 such blocks could be placed one upon another, making a total height of wall of 222 feet, and still the pressure on the lowest block would be less than one-fifth of what it would actually bear. This shows how greatly the strength of concrete blocks exceeds any demands that are ever made upon it m ordinary building construction. The safe load above assumed, 200 pounds, seems low enough to guard against any possible failure. In Taylor and Thompson's work on concrete, a safe load of 450 pounds for concrete 1 to 2 to 4 is recommended; this allows a factor of safety of 5J. On the other hand, the Building Code of the city of Cleveland permits concrete to be loaded only to 150 pounds per square inch, and limits the height of walls of 12-inch blocks to 44 feet. The pressure of such a wall would be only 40 pounds per square inch; adding the weight of two floors at 25 pounds per square foot each, and roof with snow and wind pressure, 40 pounds per square foot, we find that with a span of 25 feet the total weight on the lowest blocks would be only 52 pounds per square inch, or about one- twentieth of their minimum compression strength. Blocks with openings equal to only one-third the surface, as required in many city regulations, are heavy to handle, especially for walls 12 inches and more in thickness, and, as the above figures show, are enormously stronger than there is any need of. Blocks with openings of 50 per cent would be far more acceptable to the building trade, and if used in walls not over 44 feet high, with floors and roof calculated as above for 25 feet span, would be loaded only to 56 pounds per square inch of actual surface. This would give a factor of safety of 18, assuming a minimum com- pression strength of 1,000 pounds. There is no doubt that blocks with one-third opening are inconveniently and unnecessarily neavy. Such a block, 32 inches long, 12 inches wide, and 9 inches high, has walls about 3 J inches thick, and weighs 180 pounds. A block with 50 per cent open space would have walls and partitions 2 inches in thickness, and would weigh about 130 pounds. With proper care in manu- facture, especially by using as much water as possible, blocks with this thickness of walls may be made thoroughly strong, sound, and durable. It is certainly better for strength and water-resisting qualities to make thin-walled blocks of rich mixture, rather than heavy blocks of poor and porous material. Filling the voids with cement is a rather expensive method of securing waterproof qualities, and gives stronger concretes than are needed. The same may be accomplished more cheaply by replacing part of the cement by slaked lime, which is an extremely fine-grained material, and therefore very effective in closing pores. Hydrate lime is the most convenient material to use, but nearly as costly as Portland cement at present prices. A 1 to 4 mixture in which one-third the cement is replaced by hydrate lime will be found equal to a 1 to. 3 mixture without the lime. A 1 to 4 concrete made from cement, 1; hydrate lime, i; sand and gravel, 6 (by weight), will be found fairly water-tight, and much superior in this respect to one of the same richness consisting of cement, IJ; sand and gravel, 6. The cost of lime may be greatly re- duced by using ordinary lump lime slaked to a paste. The lime must, how- ever, be very thoroughly hydrated, so that no unslaked fragments may remain to make trouble by subsequent expan- sion. Lime paste is also very difficult to mix, and can be used successfully only in a concrete mixer of the pug-mill type. Ordinary stiff lime paste contains about 50 per cent water; twice as much of it, by weight, should therefore be used as of dry hydrate lime. Waterproof pualities. — The chief fault of concrete building blocks, as ordinarily made,_ is their tendency to absorb water. In this respect they are generally no STONE 697 worse than sandstone or common brick; it is well known that stone or brick walls are too permeable to allow plastering di- rectly on the inside surface, and must be furred and lathed before plastering, to avoid dampness. This practice is gen- erally followed with concrete blocks, but their use and popularity would be greatly increased if they were made sufficiently waterproof to allow plastering directly on the inside surface. For this purpose it is not necessary that blocks should be perfectly water- proof, but only that the absorption of water shall be slow, so that it may pene- trate only part way through the wall during a long-continued rain. Walls made entirely water-tight are, in fact, objectionable, owing to their tendency to "sweat" from condensation of moisture on the inside surface. For health and comfort, walls must be slightly porous, so that any moisture formed on the in- side may be gradually absorbed and carried away. Excessive water absorption may be avoided in the following ways: 1. Use of Properly Graded Materials. — It has been shown by Feret and others that porosity and permeability are two different things; porosity is the total proportion of voids or open spaces in the mass, while permeability is the rate at which water, under a given pressure, will pass through it. Permeability depends on the size of the openings as well as on their total amount. In two masses of the same porosity or percentage of voids, one consisting of coarse and the other of fine particles, the permeability will be greater in the case of the coarse material. The least permeability, and also the least porosity, are, however, obtained by use of a suitable mixture of coarse and fine particles. Properly graded gravel or screenings, containing plenty of coarse fragments and also enough fine material to fin up the pores, will be found to give a much less permeable concrete than fine or coarse sand used alone. 2. Use of Rich Mixtures. — All con- cretes are somewhat permeable by water under sufficient pressure. Mixtures rich in cement are of course much less permeable than poorer mixtures. If the amount of cement used is more than sufficient to fill the voids in the sand and gravel, a very dense concrete is obtained, into which the penetration of water is extremely slow. The permeability also decreases considerably with age, owing to the gradual crystallization of the cement in the pores, so that concrete which is at first quite absorbent may be- come practically impermeable after ex- posure to weather for a few weeks or months. There appears to be a very decided increase in permeability when the cement is reducea below the amount necessary to fill the voids. For example, a well-mixed sand and gravel weighing 123 pounds per cubic foot, and therefore containing 25 per cent voids, will give a fairly impermeable concrete in mixtures up to 1 to 4, but with less cement will be found quite absorbent. A 3;ravel with only 20 per cent voids would give about equally*good results with a 1 to 5 mix- ture; such gravel is, however, rarely met with in practice. On the other hand, the best sand, mixed fine and coarse, seldom contains less than 33 per cent voids, and concrete made from siieh material will prove permeable if poorer than 1 to 3. 3. Use of a Pacing. — Penetration of water may be effectively prevented by giving the blocks a facing of richer mixture than the body. For the sake of smooth appearance, facings are generally made of cement and fine sand, and it is often noticed that these do not harden well. It should be remembered that a 1 to 3 sand mixture is no stronger and little if any better in water absorption than a 1 to 5 mixture of well-graded sand and gravel. To secure good hardness and resistance to moisture a facing as rich as 1 to 2 should be used. 4. Use of an Impervious Partition. — ■ When blocks are made on a horizontal- face machine, it is a simple matter, after the face is tamped and cores pushed into place, to throw into each opening a small amount of rich and rather wet mortar, spread this fairly evenly, and then go on tamping in the ordinary mixture until the mold is filled. A dense layer across each of the cross walls is thus obtained, which effectually prevents moisture from passing beyond it. A method of ac- complishing the same result with vertical- face machines, by inserting tapered wooden blocks in the middle of the cross walls, withdrawing these blocks after tamping, and filling the^ spaces with rich mortar, has been patented. In the two- piece system the penetration of moisture through the wall is prevented by leaving an empty space between the web of the block and the inside face, or by filling this space with rich mortar. 5. Use of Waterproof Compounds. — • There are compounds on the market, of a fatty or waxy nature, which, when mixed with cement to the amount of 698 STONE only 1 or 2 per cent of its weight, in- crease its wafer-resisting qualities in a remarkable degree. Bj: thoroughly mix- ing 1 to 2 pounds of suitable compound with each sack of cement used, blocks which are practically waterproof may be made, at very small additional cost, from 1 to 4 or 1 to S mixtures. In purchasing waterproof compound, how- ever, care should be taken to select such as has been proved to be permanent in its effect, and some of the materials used for this purpose lose their efifect after a, few days' exposure to weather, and are entirely worthless. 6. Application to Surface after Erect- ing. — Various washes, to make concrete and stone impervious to water, have been used with some success. Among these the best known is the Sylvester wash of alum and soap solution. It is stated that this requires frequent re- newal, "and it is hardly likely to prove of any value in the concrete industry. The writer's experience has been that the most effective remedy, in case a concrete building proves damp, is to give the out- side walls a very thin wash of cement suspended in water. One or two coats will be found sufficient. If too thick a coating is formed it will show hair cracks. The effect of the cement wash is to make the walls appear lighter in color, and if the coating is thin the ap- pearance is in no way injured. General Hints on Waterproof Quali- ties. — To obtain good water-resisting properties the first precaution is to make the concrete sufficiently wet. Dry- tamped backs, even from rich mixture, will always be porous and absorbent, while the same mixture in plastic con- dition will give blocks which are dense, strong, and water-tight. The difference in this respect is shown by the following tests of small concrete blocks, made by the writer. The concrete used was made of 1 part cement and 5 parts mixed fine and coarse sand, by weight. No. 1. With 8 per cent water, rather dryer than ordinary block concrete, tamped in mold, i No. 2. With 10 per cent water, tamped in the mold, ana the mold removed at once. No. 3. With 25 per cent water, poured into a, mold resting on a flat surface of dry sand; after 1 hour the sur- face was troweled smooth; mold not removed until set. These blocks were allowed to harden a week in moist air, then dried. The weights, voids, and water absorption were as follows: 12 3 Damp- Wet- pou^ed tamped tamped Weight, per cubic foot, pounds 122.2 123.9 110.0 Voids, calculated, per cent of volume 25.9 24.9 33.3 Water required to fill voids, per cent of weight 9.8 9.4 12.5 Water absorbed, af- ter 2 hours, per centof weight. .. 8.8 6.4 10.5 The rate at which these blocks ab- sorbed water was then determined by drying them thoroughly, then placing them in a tray containing water i inch in depth, and weighing them at intervals. 12 3 tamped tamped °^^®d J hour 2.0 0.9 1.8 1 hour 3.2 1.1 2.5 2 hours 4.1 1.6 3.2 4 hours 5.2 2.0 3.8 24 hours 6.1 3.4 7.0 48 hours 6.4 4.3 7.5 These figures show that concrete which is sufficiently wet to be thoroughly plastic absorbs water much more slow- ly than dryer concrete, and prove the importance of using as much water as possible in the damp-tamping process. Cost. — Concrete blocks can be sold and laid up at a good profit at 25 cents per cubic foot of wall. Common red brick costs (at this writing) generally about $12 per thousand, laid. At 24 to the cubic foot, a thousand brick are equal to 41.7 cubic foot of wall; o'r, $12, 29 cents per cubic foot. Brick walls with pressed brick facing cost from 40 cents to 50 cents per cubic foot, and dressed stone from $1 to $1.50 per foot. The factory cost of concrete blocks varies according to the cost of materials. Let us assume cement to be $1.50 per barrel of 380 pounds, and sand and gravel 25 cents per ton. With a 1 to 4 mixture, 1 barrel cement will make 1,900 pounds of solid concrete, or at 130 pounds per cubic foot, 14.6 cubic feet. The cost of materials will then be: Cement, 380 pounds $1.50 Sand and gravel, 1,500 pounds. . . 0.19 Total $1.69 or 11.5 cents per cubic foot solid con- crete. Now, blocks 9 inches high and 32 inches long make 2 square feet of face of wall, each. Blocks. of this height STONE 699 aiid length, 8 inches thick, make IJ cubic feet of wall; and blocks 12 inches thick make 2 cubic feet of wall. From these figures we may calculate the cost of materials for these blocks, with cores or openings equal to J or § the total volume, as follows: Per cubic foot of block, J open- ing 7.7 cts. Per cubic foot of block, J open- • ine 5.8 cts. Block 8 X 9 X 32 inches, J open- ing 10.3 cts. Block 8 X 9 X 32 inches, i open- ing 7.7 cts. Block 12 X 9 X 32 inches, J opening 15.4 cts. Block 12 X 9 X 32 inches, J opening 11.6 cts. If one-third of the cement is replaced by hydrate lime the quality of the blocks will be improved, and the cost of material reduced about 10 per cent. The cost of labor required in manufac- turing, handling, and delivering blocks will vary with the locality and the size and equipment of factory. With hand mixing, 3 men at an average of $1.75 each will easily make 75 8-incn or 50 12-inch blocks, with J openings, per day. The labor cost for these sizes of blocks will therefore be 7 cents and lOJ cents respectively. At a factory equipped with power concrete mixer and cars for trans- porting blocks, in which a number of machines are kept busy, the labor cost will be considerably less. An extensive industry located in a large city is, how- ever, subject to many expenses which are avoided in a small country plant, such as high wages, management, office rent, advertising, etc., so that the total cost of production is likely to be about the same in both cases. A fitir estimate of total factory cost is as follows: Material Labor Total 8 X 32 inch, i space 10.3 7 17.3 cts. 8 X 32 inch, i space 7.7 6 13.7 cts. 12 X 32 inch, J space 15.4 10.5 2^.9 cts. 12 X 32 inch, i space 11.6 9 20.6 cts. With fair allowance for outside ex- penses and profit, 8-inch blocks may be sold at 30 cents and 12-inch at 40 cents each. For laying 12-inch blocks in the wall, contractors generally figure about 10 cents each. Adding 5 cents for teaming, the blocks will cost 55 cents each, erected, or 27^ cents per cubic foot of wall. This is less than the cost of common brick, and the above figures show that this price could be shaded somewhat, if necessary, to meet com- petition. — S. B. Newberry in a monograph issued by the American Association of Port- land Cement Manufacturers. Artificial" Marbles. — I. — The mass used by Beaumel consists of alum and heavy spar (barium sulphate) with addition of water and the requisite pigments. The following proportions have been found to be serviceable: Alum, 1,000 parts; heavy spar, 10 to 100 parts; water, 100 parts; the amount of heavy spar being governed by the degree of translucence desired. The alum is dissolved in water with the use of heat. As soon as the solution boils the heavy spar is mixed in, stirred with water and the pigment; this is then boiled down until the mixture has lost about 3 per cent of its weight, at which moment the mass exhibits a density of 34° Be. at a temperature of 212° F. The mixture is allowed to cool with constant stirring until the substance is semi-liquid. The resultant mass is poured into a mold covered on the inside with several layers of collodion and the cast permitted to cool completely in the mold, whereupon it is taken out and dried entirely in an airy room. Subsequently the object may be polished, patinized, or finished in some other way. II. — Imitation Black Marble. — A black marble of similar character to that exported from Belgium — the lat- ter product being simply prepared slate — may be produced in the following manner: The slate suitable for the pur- pose is first smoothly polished with a sandstone, so that no visible impression is made on it with a <;hisel — this being rough — after which it is polished finely with artificial pumice stone, and lastly finished with extremely light natural pumice stone, the surface tlien present- ing a soft, velvet-like appearance. After drying and thoroughly heating the finely golished surface is impregnated with a eated mixture of oil and fine lampblack. This is allowed to remain 12 hours; and, according to whether the slate used is more or less gray, the process is repeated until the gray appearance is lost. Pol- ishing thoroughly with emery on a linen rag follows, and the finishing polish is done with tin ashes, to which is added some lampblack. A finish being made thus, wax dissolved in turpentine, with some lampblack, is spread on the polished plate and warmed again, which after a while is rubbed off vigorously with a 700 STOPPERS— STOVE POLISH clean linen rag. Treated thus, the slate has the appearance of black marble. STONE CEMENTS: See Adhesives. STONE CLEANING: See Cleaning Preparations and Meth- ods. STONES FOR SHARPENING: See Tool Setting and Whetstones. STONES (PRECIOUS), IMITATION OF: See Gems, Artificial. STONEWARE: See Ceramics. STONEWARE CEMENTS: See Adhesives and Lutes. STOPPERS. I. — To make an anti-leak and lubri- cating mixture for plug-cocks use 2 parts of tried suet and 1 part of beeswax melted together; stir thoroughly, strain, and cool. II. — A mixture for making glass stop- pers tight is made by melting together equal parts of glycerine and paraffine. To Loosen a Glass Stopper. — I. — Make a mixture of Alcohol 2 drachms Glycerine 1 drachm Sodium chloride 1 drachm Let a portion of this stand in the space above the stopper for a few hours, when a slight tap will loosen the stopper. II. — A circular adjustable clamp, to which is attached a strip of asbestos in which coils of platinum wire are im- bedded, is obtained. By placing this on the neck of the bottle, and passing a cur- rent of electricity through the coils of wire, sufiicieut heat will be generated to expand the neck and liberate the stopper. Heat may also be generated by passing a yard of cord once around the bottle neck and, by taking one end of the cord in each hand, drawing it rapidly back and forth. Care should be taken that the contents of the bottle are not spilled on the hand or thrown into the face when the stopper does come out — or when the bottle breaks. STOPPER LUBRICANTS: See Lubricants. STOVE POLISH: See also Polishes. The following formula gives a liquid stove blacking; Graphite, in fine pow- der 1 pound Lampblack 1 ounce Rosin 4 ounces Turpentine 1 gallon The mixture must be well shaken when used, and must not be applied when there is a fire or light near on account of the inflammability of the vapor. This, form may be esteemed a con- venience by some, but the rosin and tur- pentine will, of course, give rise to some disagreeable odor on first heating the stove, after the liquid is applied. Graphite is the foundation ingredient in many stove polishes; lampblack, which is sometimes added, as in the fore- going formula, deepens the color, but the latter form of carbon is of course much more readily burned off than the former. Graphite may be applied by merely mixing with water, and then no odor follows the heating of the iron. The coating must be well rubbed with a brush to obtain a good luster. The solid cakes of stove polish found in the market are made by subjecting the powdered graphite, mixed with spirit of turpentine, to great pressure. They have to be reduced to powder and mixed with water before being applied. Any of them must be well rubbed with a brush after application to give a hand- some finish. STOVE CEMENT: See Cement. STOVE CLEANERS: See Cleaning Compounds. STOVE LACQUER: See Lacquers. STOVE VARNISHES: See Varnishes. STRAMONIUM, ANTIDOTE FOR: See Atropine. STRAP LUBRICANT: See Lubricant. STRAW FIREPROOFING : See Fireproofing. STRAWBERRIES, FROZEN: See Ice Creams. STRAWBERRY JUICE: See Essences and Extracts. STRAW-HAT CLEANERS: See Cleaning Preparations and Meth- ods. STRAW -HAT DYES: See Hats, STYPTICS— SYRUPS 701 STROPPING PASTES: See Razor Pastes. STYPTICS. Styptics are substances which arrest local bleeding. Creosote, tannic acid, alcohol, alum, and most of the astringent salts belong to this class. _ Brocchieri's Styptic. — A nostrum con- sisting of the water distilled from pine tops. Helvetius's Styptic. — Iron filings (fine) and cream of tartar mixed to a proper consistence with French brandy. Eaton's Styptic. — A solution of sul- phate disguised by the addition of some unimportant substances. Helvetius's styptic was for a long time employed under this title. Styptic Paste of Gutta Percha. — Gutta percha, 1 ounce; Stockholm tar, IJ or 2 ounces; creosote, 1 drachm; shellac, 1 ounce; or quantity sufficient to render it sufficiently nard. To be boiled together with constant stirring, till it forms a ho- mogeneous mass. For alveolar hemor- rhage, and as a styptic in toothache. To be softened by molding with the fingers. SULPHATE STAINS, TO REMOVE: See Cleaning Preparations and Meth- ods. SULTANA ROLL: See Ice Creams. SUNBURN REMEDIES: See Cosmetics. SUTURES OF CATGUT, THEIR PREP- ARATION: See Catgut. SYNDETICON: See Adhesives. Syrups (See also Essences and Extracts.) The syrups should either be made from the best granulated sugar, free from ultramarine, or else rock-candy syrup. If the former, pure distilled water should be used m making the syrup, as only in this manner can a syrup be obtained that will be free from im- purities and odor. There are two meth- ods by which syrup can be made, namely, by the cold process, or by boiling. The advantage of the former is its con- venience; of the latter, that it has better keeping qualities. In the cold process, the sugar is either stirred up in the water until it is dissolved, or water is percolated or filtered through the sugar, thus forming a solution. In the hot process, the sugar is simply dissolved in the water by the aid of heat, stirring until solution is efi^ected. The strength of the syrup for fountain use should be about 6 pounds in the gallon of finished syrup; it is best, however, to make the stock syrup heavier, as it will keep much better, using 15 pouijds of granulated sugar, and 1 gallon of water. When wanted for use it can be diluted to the proper density with water. The syrups of the market are of this con- centrated variety. Unless the apart- ments of the dispenser are larger than is usual, it is often best to buy the syrup, the difl^erence in cost being so small that \vhen the time is taken into considera- tion the profit is entirely lost. Foamed syrups should, however, never be pur- chased; they are either contaminated with foreign flavor, or are more prone to fermentation than plain syrup. Fruit Syrups. — These may be pre- pared from fruit juices, and the desired quantity of syrup, then adding soda foam, color, and generally a small amount of fruit- acid solution. They may also be made by reducing the con- centrated fruit syrups of the market with syrup, otherwise proceeding as above. As the fruit juices and concentrated syrups always nave a tried formula at- tached, it is needless to use space for this purpose. When a flavor is weak it may be forti- fied by adding a small amount of flav- oring extract, but under no condition should a syrup flavored entirely with an essence be handed out to the consumer as a fruit syrup, for there is really no great resemblance between the two. Fruit syrups may be dispensed solid by adding the syrup to the soda water and stirring with a spoon. Use nothing but the best ingredients in making syrups. Preservation of Syrups. — The preser- vation of syrups is purely a pharma- ceutical question. They must be made right in order to keep right. Syrups, particularly fruit syrups, must be kept aseptic, especially when made without heat. The containers should be made of glass, porcelain, or pure block tin, so that they may be sterilized, and should be easily and quickly removed, so that the operation may be efl:ected with promptness and facility. As is well known, the operation of sterilization is 702 SYRurs very simple, consisting in scalding the article with boiling water. No syrup should ever be filled into a container without first sterilizing the container. The fruit acids, in the presence of sugar, serve as a media for the growth and develop- ment of germ life upon exposure to the air. Hence the employment of heat as pasteurization andsterilizatioln in the pre- serving of fruits, etc. A pure fruit syrup, filled into a glass bottle, porcelain jar, or block-tin can, which- has been rendered sterile with boiling water, maintained at a cool tem- perature, will keep for any reasonable length of time. All danger of fracturing the glass, by pouring water into it, may be obviated by first wetting the interior of the bottle with cold water. The fruits for syrups must not only be fully ripe, but they must be used imme- diately after gathering. The fruit must be freed from stems, seeds, etc., filled into lightly tied linen sacks, and thus sub- jected to pressure, to obtain their juices. Immediately after pressure the juice should be heated quickly to 167° F., and filtered through a felt bag. The filtrate should fall directly upon the sugar neces- sary to make it a syrup. The heating serves the purpose of coagulating the al- buminous bodies present in the juices, and thus to purify the latter. Syrups thus prepared have not only a most agreeable, fresh taste, but are very stable, remaining in a good condition for years. Hints on Preparation of Syrups.^ Keep the extracts in a cool, dark place. Never add flavoring extracts to hot syrup. It will cause them to evaporate, and weaken the flavor. Keep all the mixing utensils scrupulously clean. Never mix fruit syrups, nor let them stand in the same vessels in which sarsa- parilla, ginger, and similar extract flavors are mixed and kept. If possible, always use distilled water in making syrup. Never allow a syrup containing acid to come in contact with any metal except pure block tin. Clean the syrup jars each time before refilling. Keep all packages of concentrated syrups and crushed fruits tightly corked. Mix only a small quantity of crushed fruit in the bowl at a time, so as to have it always fresh. How to Make Simple Syrups — ^Hot Process. — Put 25 pounds granulated sugar in a large pail, or kettle, and pour on and stir hot water enough to make 4 gallons, more or less depending on how thick the syrup is desired. Then strain while hot through fine cheese cloth. Cold Process. — By agitation. Sugar, 25 pounds; water, 2 gallons. Put the sugar in a container, add the water, and agitate with a wooden paddle until the sugar is dissolved. An earthenware jar with a cover and a faucet at the bottom makes a very convenient container. Cold Process. • — By percolation. A good, easy way to keep syrup on hand all the time: Have made a galvanized iron percolator, 2 feet long, 8 inches across top, and 4 inches at base, with a 4-inch wire sieve in bottom. Finish the bottom in shape of a funnel. Put a syrup faucet in a barrel, and set on a box, so that the syrup can be drawn into a gallon measure. Bore a hole in the barrelhead, and insert the percolator. Fill three- fourths full of sugar, and fill with water. As fast as the syrup runs into the barrel fill the percolator, always putting in plenty of sugar. By this method 20 to 25 gal- lons heavy syrup can be made in a day. Rock-Candy Syrup. — Sugar, 32 pounds; water, 2 gallons. Put the sugar and water in a suitable container, set on stove, and keep stirring until the mixture boils up once. Strain and allow to cool. When cool there will be on top a crust, or film, of crystallized sugar. Strain again to remove this film, and the prod- uct will be what is commonly known as rock-candy syrup. This may be reduced with one-fifth of its bulk of water when wanted for use. COLORS FOR SYRUPS: Caramel. — Place 3 pounds of crushed sugar in a kettle with 1 pint of water, and heat. The sugar will at first dis- solve, but as the water evaporates a solid mass will be formed. This must be broken up. Continue to heat, with constant stir- ring, until the mass has again become licjuefied. Keep on a slow fire until the mass becomes very dark; then remove the kettle from the fire and pour in slowly 3 pints of boiling water. Set the kettle back on the fire and permit contents to boil for a short time, then remove, and cool. Add simple syrup to produce any required consistency. Blue. — I. — Indigo carmine 1 part Water : . . . 20 parts Indigo carmine may usually be ob- tained commercially; H. — Tincture of indigo also makes a harmless blue. SYRUPS— TABLES 703 Sap Blue. — Dark blue 3 parts Grape sugar 1 part Water 6 parts Green. — The addition of indigo-car- mine solution to any yellow solution will give various shades of green. Indigo carmine added to a mixture of tincture of crocus and glycerine will give a fine green color. A 'solution of commercial chlorophyll yields grass-green shades. Pink.— I. — Carmine 1 part Liquor potassse 6 parts Rose water to make. . 48 parts Mix. If the color is too high, dilute with distilled water until the required tint is obtained. II. — Soak red-apple parings in Cali- fornia brandy. The addition of rose leaves makes a fine flavoring as well as coloring agent. Red.— Carmine, No. 40 ... . 1 part Strong ammonia water 4 parts Distilled water to make 24 parts Rub up the carmine and ammonia water and to the solution add the water under trituration. If, in standing, this shows a tendency to separate, a drop or two of water of ammonia will correct the trouble. This statement should be put on the label of the bottle as the volatile ammonia soon escapes even in glass-stoppered vials. Various shades of red may be obtained by using fruit juices, such as black cherry, raspberry, etc., and also the tinctures of sudbear, alkanet, red saunders, erythroxylon, etc. Orange. — - Tincture of red sandal- wood 1 part Ethereal tincture of Orlean, q. s. Add the orlean tincture to the sandal- wood gradually until the desired tint is obtained. A red color added to a yellow one gives an orange color. Purple. — A mixture of tincture of indigo, or a solution of indigo carmine, added to cochineal red gives a, fine purple. Yellow. — Various shades of yellow may be obtained by the maceration of saffron or turmeric in alcohol until a strong tincture is obtained. Dilute with water until the desired tint is reached. SYRUP, TABLE: See Tables. Tables ALCOHOL DILUTION. The following table gives the per- centage, by weight, of alcohol of 95 -per cent and of distilled water to make 1 liter (about 1 quart), or 1 kilogram (2.2 pounds), of alcohol of various dilutions. TABLE FOR THE DILUTION OF ALCOHOL. 1 Liter >, 1 Kilogram contains +? contains £, J \^ £,*■■ g'a ' Si II ■w Td . o%, S 13 . Xi bo ti'S 1 •< 6^ 1 < Cms. Gms. Gms. Gms. 5 42.87 950.13 0.993 43.17 956.83 3.99 10 85.89 900.11 0.986 87.11 912.89 8.05 :5 128.87 852.13 0.981 131.37 868.63 12.14 20 171.83 804.17 0.976 176.06 823.94 16.27 25 214.77 756.23 0.971 221.18 778.82 20.44 30 257.93 707.07 0.965 267.28 732.72 24.70 35 300.74 668.26 0.959 313.60 686.40 28.98 40 343.77 608.23 0.952 361.10 638.90 33.37 45 386.75 557.25 0.944 409.69 690.31 37.86 50 429.65 604.35 0.934 460.01 639.99 42.51 65 472.64 461.36 0.924 511.52 488.48 47.27 60 615.60 398.40 0.914 664.11 435.89 62.13 65 558.61 343.39 0.902 619.30 380.70 57.23 70 601.55 288.45 0.890 675.90 324.10 62.46 75 644.58 232.42 0.877 734.98 265.02 67.92 80 687.67 176.43 0.864 795.80 204.20 73.54 85 730.51 119.49 0.850 859.43 140.67 79.42 go 773.53 0.47 0.834 927.49 72.51 85.71 Capacities of Common Utensils. — For ordinary measuring purposes a wine- glass may be said to hold 2 ounces. A tablespoon, \ ounce. A dessertspoon, \ ounce. A teaspoon, \ ounce, or 1 drachm. A teacupful of sugar weighs \ pound. Three tablespoonf uls weigh \ pound. Cook's Table. — Two teacupfuls (well heaped) of coffee and of sugar weigh 1 pound. Two teacupfuls (level) of granulated sugar weigh 1 pound. Two teacupfuls soft butter (well packed) weigh 1 pound. One and one-third pints of powdered sugar weigh 1 pound. Two tablespoonfuls of powdered sugar or flour weigh 1 pound. Four teaspoonfuls are equal to 1 table- spoon. Two and one-half teacupfuls (level) of the best brown sugar weigh 1 pound. Two and three-fourths teacupfuls (level) of powdered sugar weigh 1 pound. One tablespoonful (well heaped) of granulated or Dest brown sugar equals 1 704 TABLES One generous pint of liquid, or 1 pint finely chopped meat, packed solidly, weighs 1 pound. Table of Drops. — Used in estimating the amount of a flavoring extract neces- sary to flavor a gallon of syrup. Based on the assumption of 450 drops being equal to 1 ounce. One drop of extract to an ounce of syrup is equal to 2 drachms to a gallon. Two drops of extract to an ounce of syrup are equal to 4i drachms to a gallon. Three drops of extract to an ounce of syrup are equal to 6i drachms to a gallon. Four drops of extract to an ounce of syrup are equal to 1 ounce and 1 drachm to a gallon. Five drops of extract to an ounce of syrup are equal to 1 ounce and 3J drachms to a gallon. Si-L drops of extract to an ounce of syrup are equal to 1 ounce and 5 J drachms to a gallon. Seven drops of extract to an ounce of syrup are equal to 2 ounces to the gallon. Eight drops of extract to an ounce of syrup are equal to 2 ounces and 2 J drachms to a gallon. Nine drops of extract to an ounce of syrup are equal to 2 ounces and 4 J drachms to a gallon. Ten drops of extract to an ounce of syrup are equal to 2 ounces and 6 J drachms to a gallon. Twelve drops of extract to an ounce of syrup are equal to 3 ounces and 3 J drachrhs to a gallon. Fourteen drops of extract to an ounce of syrup are equal to 4 ounces to a gallon. Sixteen drops of extract to an ounce of syrup are equal to 4 ounces and 4J drachms to a gallon. Eighteen drops of extract to an ounce of syrup are equal to 5 ounces and 1 drachm to a gallon. Note. — The estimate 450 drops to the ounce, while accurate and reliable enough in this particular relation, must not be relied upon for very exact purposes, in which, as has frequently been demon- strated, the drop varies within a very wide range, according to the nature of the liquid, its consistency, specific gravity, temperature; the size and shape of the aperture from which it is allowed to escape, etc. Fluid Measure. — U. S. Standard, or Wine Measure. — Sixty minims are equal to 1 fluidrachm. Eight fluidrachms are equal to 1 fluid- ounce. Sixteen fluidounces are equal to 1 pint. Two pints are equal to 1 quart. Four quarts are equal to 1 gallon. One pint of distilled water weighs about 1 pound. Percentage Solutions. — To prepare the following approximately correct solu- tions, dissolve the amount of medicament indicated in sufficient water to make one imperial pint. For sV per cent, or 1 in 5,000 solution, use If grains of the medicament. For -^ per cent, or 1 in 2,000 solution, use 4^- grains of the medicament. For-?o" per cent, or 1 in 1,000 solution, use 8| grains of the medicament. For J per cent, or 1 in 400 solution, use 21J grains of the medicament. For J per cent, or 1 in 200 solution, use 43J grains of the medicament. For 1 per cent, or 1 in 100 solution, use 87 i grains of the medicament. For 2 per cent, or 1 in 50 solution, use 175 grains of the medicament. For 4 per cent, or 1 in 25 solution, use 350 grains of the medicament. For 5 per cent, or 1 in 20 solution, use 437J grains of the medicament. For 10 per cent, or 1 in 10 solution, use 875 grains of the medicament. To make smaller quantities of any solution, use less water and reduce the medicament in proportion to the amount of water employed; thus § imperial pint of a 1 per cent solution will require 43} grains of the medicament. Pressure Table. — ^This table shows the amount of commercial sulphuric acid (H2SO4) and sodium bicarbonate neces- sary to produce a given pressure: 120 Pounds Pressure. Acid Sulph., Av. ounces 50 71 93 118 138 135 Pounds Pressure. Water, Soda Bicar., Acid Sulph., gallons Av. ounces Av. ounces. 10 96 56 20 134 73 30 171 100 40 209 122 50 246 144 If marble dust be used, reckon at the rate of 18 ounces hot water for use. Syrup Table.— The following table shows the amount of syrup obtained from 1. The addition of pounds of sugar to 1 gallon of water; and the Water, gallons 10 Soda Bicar. Av. ounces 86 20 123 30 161 40 198 50 236 TABLES— TERRA COTTA SUBSTITUTES 705 2. Amount of sugar in each gallon of syrup resulting therefrom: Pounds of sugar added to Quantity of syrup actually obtained. Pounds of sugar one gallon of cold water. Gallons. Pints. Fluid- ounces. gallon of syrup. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 2 2 2 1 1 2 3 3 4 5 5 6 6 ' 7 1 10 4 14 3 2 12 6 10 4 14 8 2 12 6 .93 1.73 2.43 3.05 3.6 4.09 4.52 4.92 5.28 5.02 5.92 6.18 0.38 6.7 6.91 TABLE-TOPS, ACID-PROOF: See Acid-Proofing. TABLES FOR PHOTOGRAPHERS: See Photography. TAFFY: See Confectionery. TALCUM POWDER: See Cosmetics. TALLOW: See Fats. TALMI GOLD: See Alloys. TAMPRING: See Tampring, under Steel. TAN REMEDY: See Cosmetics. TANK: To Estimate Contents of a Circular Tank. — The capacity of a circular tank may be determined by multiplying the diameter in inches by itself and by .7854 and by the length (or depth) in inches, which gives the capacity of the tank in inches, and then dividing by 231, the nuinber of cubic inches in a United States gallon. TANNING: See Leather. TAPS, TO. REMOVE BROKEN. First clean the hole by means of a small squirt gun filled with kerosene. All broken pieces of the tap can be re- moved with a pair of tweezers, which should be as large as possible. Then insert the tweezers between the hole and flutes of the tap. By slowly working back and forth and occasionally blowing out with kerosene, the broken piece is easily released. TAR PAINTS: See Wood. TAR-SPOTS ON WOODWORK: See Paint. TAR-SULPHUR SOAP: See Soap. TAR SYRUP: See Essences and Extracts. TATTOO MARKS, REMOVAL OF. Apply a highly concentrated tannin solution on the tattooed places and treat them with the tattooing needle as the tattooer does. Next vigorously rub the places with a lunar caustic stick and allow the silver nitrate to act for some time, until the tattooed portions have turned entirely black. Then take off by dabbing. At first a silver tannate forms on the upper layers of the skin, which dyes the tattooing black; with slight symptoms of inflammation a scurf ensues which comes off after 14 to 16 days, leaving behind a reddish scar. The latter assumes the natural color of the skin after some time. The process is said to have given good results. TAWING: See Leather. TEA EXTRACT: See Essences and Extracts. TEETH, TO WHITEN DISCOLORED. Moisten the corner of a linen hand- kerchief with hydrogen peroxide, and with it rUb the teeth, repeating the rub- bing occasionally. Use some exceed- ingly finely pulverized infusorial earth, or pumice ground to an impalpable powder, in connection with the hydrogen peroxide, and the job will be quicker than with the peroxide alone. TEMPERING OF STEEL: See Steel. TERRA COTTA SUBSTITUTE. A substance, under this name, designed to take the place of terra cotta and plaster of Paris in the manufacture of small orna- mental objects, consists of 706 THERMOMETERS— TIN Albumen 10 parts Magnesium sulphate. 4 parts Alum 9 parts Calcium sulphate, cal- cined 45 parts Borax 2 parts Water 30 parts The albumen and alum are dissolved in the water and with the solution so obtained the other ingredients are made into a paste. This paste is molded at once in the usual way and when set the articles are exposed in an oven to a heat of 140° F. TERRA COTTA CLEANING: See Cleaning Preparations and Meth- ods. TEXTILE CLEANING: See Cleaning Preparations and Meth- ods and Household Formulas. Thermometers Table Showing the Comparison of t^e Readings of Thermometers, Celsius, ob Centigrade (C). Reaumur (R). Fahrenheit CJP). c. R. F. C. R. F. -30 -24.0 -22.0 23 18.4 73.4 -25 -20.0 -13.0 24 19.2 75,2 -20 -16.0 - 4.0 25 20.0 77,0 -15 -12.0 + 6.0 26 20.8 78,8 -10 - 8.0 14.0 27 21.6 80.6 - 5 - 4.0 23.0 28 22.4 82.4 - 4 - 3.2 24.8 29 23.. 2 84,2 - 3 - 2.4 26.6 30 24,0 86,0 - 2 - 1.6 28.4 31 24,8 87,8 - 1 - 0.8 30.2 32 25,6 89,6 33 26,4 91,4 Freezins point o: water. 34 27,2 93,2 35 28,0 95.0 0.0 32.0 36 28,8 96.8 1 0.8 33.8 37 29,6 98,6 2 1.6 35.6 38 30,4 100,4 3 2.4 37.4 39 31.12 102.2 4 3.2 39.2 40 32,0 104.0 5 4.0 41.0 41 32,8 105.8 6 4.8 42.8 42 33,6 107.6 7 5.6 44.6 43 34,4 109.4 8 6.4 46.4 44 35,2 111. 2 9 7.2 48.2 45 36,0 113.0 10 8.0 50.0 50 40,0 122.0 11 8.8 51.8 55 44,0 131.0 12 9.6 53.6 60 48,0 140.0 13 10.4 55.4 65 52,0 149.0 14 11.2 57.2 70 56,0 158.0 15 12,0 59.0 75 60,0 167.0 16 12.8 60.8 80 64,0 176.0 17 13.6 62.6 85 68.0 185.0 18 14.4 64.4 90 72.0 194.0 19 15.2 66.2 95 76.0 203.0 20 16.0 68.0 100 80.0 212.0 21 16.8 69.8 22 17.6 71.6 Boiling 5 point 3f water. Readings on one scale can be changed into another by the following formulas, in which t° indicates degrees of temper- ature: R^au. to Fahr. 7(°R + 32°-«°F 4 R^au to Cent. Cent, to Fahr. |(°C + 32° = i° I 5 Cent, to R^au. Fahr. to Cent. Fahr. to R^au. 1(*»F '-32°)=i°R THREAD : See also Cordage. Dressing for Sewing Thread. — For colored thread: Irish moss, 3 pounds; gum arable, 2J pounds; Japan wax, J pound; stearine, 185 grams; borax, 95 grams; boil together for J hour. For white thread: Irish moss, 2 pounds; tapioca, H pounds; spermaceti, J pound; stearine, 110 grams; borax, 95 grams; boil together for 20 minutes. For black thread: Irish moss, 3 pounds; gum Senegal, 2 J pounds; ceresin, 1 pound; borax, 95 grams ; logwood extract, 95 grams; blue vitriol, 30 grams; boil together for 20 minutes. Soak the Irish moss in each case overnight in 45 liters of water, then boil for 1 hour, strain and add the other ingredients to the resulting solution. It is of advantage to add the borax to the Irish moss before the boiling. THROAT LOZENGES: See Confectionery. THYMOL: See Antiseptics. TICKS, CATTLE DIP FOR: See Insecticides. TIERCES: See Disinfectants. TILEMAKERS' NOTES: See Ceramics. Tin Etching Bath for Tin. — The design is either freely drawn upon the iuetal with a needle or a lead pencil, or pricked into the metal through tracing paper with a needle. The outlines are filled with a varnish (wax, colophony, asphalt). The varnish is rendered fluid with tur- pentine and applied with a brush. The article after having dried is laid in a i solution of nitric acid for 1 J to 2 hours. It is then washed and dried with blotting TIN— TINFOIL 707 paper. The protective coating of as- phalt is removed by heating. Tlie zinc oxide in the deeper portions is cleaned away with a silver soap and brush. Recovery of Tin and Iron in Tinned- Plate Clippings. — The process of utiliz- ing tinned-plate scrap consists essentially in the removal of the tin. This must be very completely carried out if the re- maining iron is to be available for cast- ing. The removal of the outer layer of pure tin from the tinned plate is an easy matter. Beneath this, however, is an- other crystalline layer consisting of an alloy of tin and iron, which is more dif- ficult of treatment. It renders the iron unavailable for casting, as even 0.2 per cent of tin causes brittleness. Its removal is best accomplished by elec- trolysis. If dilute sulphuric acid is used as an electrolyte, the deposit is spongy at first, and afterwards, when the acid has been partly neutralized, crystalline. After 6 hours the clippings are taken out and the iron completely dissolved in dilute sulphuric acid; the residue of tin is then combined with the tin obtained by the electrolysis. Green vitriol is there- fore a by-product in this process. Gutensohn's process has two objects: To obtain tin and to render the iron fit for use. The tin is obtained by treating the tinned plate repeatedly with hydro- chloric acid. The tin is then removed from the solution by means of the electric current. The tinned plate as the positive pole is placed in a tank made of some in- sulating material impervious to the action of acids, such as slate. A copper plate forms the cathode. The bicnloride of tin solution, freed from acid, is put round the carbon cylinder in the Bunsen ele- ment. Another innovation in this proc- ess is that the tank with the tinned- plate clippings is itself turned into an electric battery with the aid of the tin. A still better source of electricity is, how- ever, obtained during the treatment of the untinned iron which will be de- scribed presently. The final elimination of the tin takes place in the clay cup of the Bunsen elements. Besides the chloride of tin solution (free from acid), another tin solution, preferably chromate of tin, nitrate of tin, or sulphate of tin, according to the strength of the current desired, may be used. To render the iron of the tinned plate serviceable the acid is drawn off as Ipng as the iron is covered with a thin layer of an alloy of iron and tin. The latter makes the iron unfit for use in rolling mills or for the precipitation of copper. Fresh hydro- chloric acid or sulphuric acid is there- fore poured over the plate to remove the alloy, after the treatment with the bi- chloride of tin solution. This acid is also-systematically used in different vats to the point of approximate saturation. This solution forms the most suitable source of electricity, a zinc-iron element being formed by means of a clay cell and a zinc cylinder. The electrical force developed serves to accelerate the solu- tion in the next tank, which contains tinned plate, either fresh or treated with hydrochloric acid. Ferrous oxide, or spongy metallic iron if the current is very strong, is liberated in the iron bat- tery. Both substances are easily oxi- dized, and form red oxide of iron when heated. The remaining solution can be crystallized by evaporation, so that fer- rous sulphate (green vitriol) or ferric chloride can be obtained, or it can be treated to form red oxide of iron. Tin in Powder Form. — To obtain tin in powder form the metal is first melted; next pour it into a box whose sides, etc., are coated with powdered chalk. Agitate the box vigorously and without discon- tinuing, until the metal is entirely cold. Now pass this powder through a sieve and keep in a closed flask. This tin powder is eligible for various uses and makes a handsome effect, especially in bronzing. It can be browned. TINFOIL: See also Metal Foil. By pouring tin from a funnel with a very long and narrow mouth upon a linen surface, the latter being tightly stretched, covered with a mixture of chalk and white of egg, and placed in a sloping position, very thin sheets can be produced, and capable of being easily transformed into thin foil. Pure tin should never be used in the preparation of foil intended for packing tobacco, chocolate, etc., but an alloy containing 5 to 40 per cent of lead. Lead has also been recently plated on both sides with tin by the fol- lowing method: A lead sheet from 0.64 to .80 inches thick is poured on a casting table as long as it is hot, a layer of tin from 0.16 to 0.20 inches in thickness add- ed, the sheet then turned over and coated on the' other side with tin in the same manner. The sheet is then stretched between rollers. Very thin sheet tin can also be made in the same way as sheet lead, by cutting up a tin cylinder into spiral sections. Cfolored tinfoil is pre- Cared by making the foil thoroughly right by rubbing with purified chalk 708 TINFOIL— TOOL SETTING and cotton, then adding a coat of gela- tin, colored as required, and covering the whole finally with a transparent spirit var- nish. In place of this somewhat trouble- some process, the following much simpler method has lately been introduced: Ani- line dyes dissolved in alcohol are applied on the purified foil, and the coat, when dry, covered with a very thin layer of a colorless varnish. This is done by pour- ing the varnish on the surface and then inclining the latter so that the varnish may reach every part and fiow off. TIN, SILVER-PLATING: See Plating. TIN VARNISHES: See Varnishes. TINNING: See Plating. TIRE: Anti-Leak Rubber Tire. — Pneumatic tires can be made quite safe from punc- tures by using a liberal amount of the following cheap mixture: One pound of sheet glue dissolved in hot water in the usual manner, and 3 pints of molasses. This mixture injected into the tire through the valve stem, semi-hardens into an elastic jelly, being, in fact, about the same as the well-known ink roller com- position used for the rollers of printing presses. This treatment will usually be found to effectually stop leaks in punc- tured' or porous tires. TIRE CEMENTS: See Adhesives, under Rubber Cements. TISSIER'S METAL: See Alloys. TITANIUM STEEL: See Steel. TODDY, HOT SODA: See Beverages. TOILET CREAMS, MILKS, POWDERS, ETC. : See Cosmetics. TOLIDOL DEVELOPER: See Photography. TOMATO BOUILLON EXTRACT: See Condiments. TOMBACK: See Jewelers' Formulas. TONING BATHS: See Photography. TONKA EXTRACT: See Essences and Extracts. TONKA, ITS DE'TECTION IN VANILLA EXTRACTS: See Vanilla. TOOL SETTING. The term "setting" (grinding) is ap- plied to the operation of giving an edge to the tools designed for cutting, scrap- ing, or sawing. Cutting tools are rubbed either on flat sandstones or on rapidly turned grindstones. The wear on the faces of the tools diminishes their thick- ness and rendeis the cutting angle sharper. Good edges cannot be ob- tained except with the aid of the grind- stone; it is therefore important to select this instrument with care. It should be soft, rather than hard, of fine, smooth grain, perfectly free from seams or flaws. The last condition is essential, for it often happens that, under the in- fluence of the revolving motion, a de- fective stone suddenly yields to the centrifugal force, bursts and scatters its pieces with such violence as to wound the operator. This accident may also happen with perfectly formed stones. On this account artificial stones have been substituted, more homogeneous and coherent than the natural ones. Whatever may be the stone selected, it ought to be kept constantly moist during the operation. If not, the tools wifl soon get heated and their temper will be impaired. When a tool has for a certain time undergone the erosive action of the stone, the cutting angle becomes too acute, too thin, and bends over on itself, constituting what is called "the feather edge." This condition renders a new setting necessary, which is usually ef- fected by bending back the feather edge, if it is long, and whetting the blade on a stone called a "setter." There are several varieties of stones used for this purpose, though they are mostly com- posed of calcareous or argilaceous mat- ter, mixed with a certain proportion of silica. The scythestone, of very fine grain, serves for grinding off the feather edge of scythes, knives, and other large tools. The Lorraine stone, of chocolate color and fine grain, is employed with oil for carpenters' tools. American carborun- dum is very erosive. It is used with water and with oil to obtain a fine edge. The lancet stone is not inferior to any of the preceding. As its name indicates. It IS used for sharpening sm-gical instru- ments, and only with oil. The Levant stone (Turkish sandstone) is the best of all for whetting. It is gray and semi- transparent; when of inferior quality, it TOOTHACHE— TRANSPARENCIES 709 is somewhat spotted with red. It is usually quite soft. To restore stones and efface the in- equalities and hollows caused by the friction of the tools, they are laid flat on a marble or level stone, spread over with fine, well-pulverized sandstone, and rubbed briskly. When tools have a curved edge, they are subjected to a composition formed of pulverized stone, molded into a form convenient for the concavity or convexity. Tools are also whetted with slabs of walnut or aspen wood coated with emery of different numbers, which produces an excellent setting. TOOL LUBRICANT: See Lubricant. Toothache TOOTHACHE GUMS: See also Pain KiUers. I. — Paraffine 94 grains Burgundy pitch. . . 800 grains Oil of cloves J fluidrachm Creosote j fluidrachm Melt the first two ingredients, and, when nearly cool, add the rest, stirring well. May be made into small pills or turned out in form of small cones or cylinders. II. — Melt white wax or spermaceti, 2 parts, and when melted add carbolic- acid crystals, 1 part, and chloral-hydrate crystals, 2 parts; stir well until dissolved. While still liquid, immerse thin layers of carbolized absorbent cotton wool and allow them to dry. When required for use a small piece may be snipped off and slightly warmed, • when it can be in- serted into the hollow tooth, where it will solidify. Toothache Remedy. — Camphor 4 drachms Chloral hydrate. . 4 drachms Oil of cloves 2 drachms Oil of cajeput. ... 2 drachms Chloroform 12 drachms Tincture of capsi- cum 24 drachms TOOTH CEMENTS: See Cements. TOOTH PASTES, POWDERS, SOAPS, AND WASHES: See Dentifrices. TORTOISE-SHELL POLISHES: Sec Polishes. TOOTH STRAIGHTENING: See Watchmakers' Formulas. TOUCHSTONE, AQUAFORTIS FOR THE: See Aquafortis. TOY PAINT: See Paint. TRACING-CLOTH CLEANERS: See Cleaning Preparations and Meth- ods. TRAGACANTH, MUCILAGE OF: See Adhesives, under Mucilages. TRANSPARENCIES: See also Photography. A good method of preparing hand- some London transparencies is as fol- lows: White paper is coated with a liquid whose chief constituent is Iceland moss strongly boiled down in water to which a slight quantity of previously dissolved gelatin is added. In applying the mass, which should always be kept in a hot condition, the paper should be covered uniformly throughout. After it has been dried well it is smoothed on the coated side and used for a proof. The trans- parent colors to be used must be ground in stronger varnish than the opaque ones. In order to produce a handsome red, yellow lake and red sienna are used; the tone of the latter is considerably warmer than that of the yellow lake. Where the cost is no consideration, aurosolin may also be employed. For pale red, madder lakes should be employed, but for darker shades, crimson lakes and scarlet cochi- neal lakes. The vivid geranium lake gives a magnificent shade, which, how- ever, is not at all fast in sunlight. The most translucent blue will always be Berlin blue. For purple, madder pur- ple is the most reliable color, but pos- sesses little gloss. Luminous effects can be obtained with the assistance of aniline colors, but these are only of little permanence in transparencies. Light, transparent green is hardly avail- able. Recourse has to be taken to mix- ing Berlin blue with yellow lake, or red sienna. Green chromic oxide may be used if its sober, cool tone has no dis- turbing influence. Almost all brown coloring bodies give transparent colors, but the most useful are madder lakes and burnt umber. Gray is produced by mixing purple tone colors with suitable brown, but a gray color hardly ever oc- 710 TRANSPARENCIES— TRANSFER PROCESSES curs in transparent prints. Liquid sic- cative must always be added to the colors, otherwise the drying will occupy too much time. After the drj'ing, the prints are varnished on both sides. For this purpose, a well-covering, quickly drying, colorless, not too thick varnish must be used, which is elastic enough not to crack nor to break in bending. Frequently the varnishing of the pla- cards is done with gelatin. This imparts to the picture an especially handsome, luminous luster. After an equal quantity of alcohol has been added to a readily flowing solution of gelatin, kept for use in a zinc vessel, the gelatin solution is poured on the glass plates destined for the transparencies. After a quarter of an hour, take the placard, moisten its back uniformly, ana lay it upon a gela- tin film which has meanwhile formed on the glass plate, where it remains 2 to 3 days. When it is to be removed from the plate, the edge of the gelatin film protruding over the edge of the placard is lifted up with a dull knife, and it is thus drawn off. A fine, transparent gloss remains on the placard proper. In order to render the covering waterproof and pliable, it is given a coating of collodion, which does not detract from the trans- parence. The glass plates and their frames must be cleaned of adhering gela- tin particles before renewed use. TRANSFER PROCESSES: To Transfer Designs. — Designs can be transferred on painted surfaces, cloth, leather, velvet, oil cloth, and linen sharply and in all the details with little trouble. Take the original design, lay it on a layer of paper, and trace the lines of design accurately with a packing needle, the eye of which is held by a piece of wood for a handle. It is necessary to press down well. The design be- comes visible on the back by an eleva- tion. When everything has been accu- rately pressed through, take, e. ^., for dark objects, whiting (formed in pieces), lay the design face downward on the knee and pass mildly with the whiting over the elevations; on every elevation a chalk line will appear. Then dust off the superfluous whiting with the fingers, lay the whiting side on the cloth to hold it so that it cannot slide, and pass over it with a soft brush. For light articles take powdered lead pencil, which is rubbed on with the finger, or limewood charcoal. For tracing use oil paint on cloth and India ink on linen. To Copy Engravings.^To make a facsimile of an engraving expose it in a warm, closed box to the vapor of iodine, then place it, inkside downward, on a smooth, dry sheet of clean white paper, which has been brushed with starch water. After the two prepared surfaces have been in contact for a short time a facsimile of the engraving will be reproduced more or less accurately, ac- cording to the skill of the operator. To Transfer Engravings. — The best way to transfer engraving from one piece to another is to rub transfer wax into the engraved letters. This wax is made of beeswax, 3 parts; tallow, 3 parts; Canada balsam, 1 part; olive oil, 1 part. If the wax becomes too hard, add a few drops of olive oil, and if too soft, a little more beeswax. Care should be taken that the wax does not remain on the surface about the engraving, otherwise the impression would be blurred. Then moisten a piece of paper by draw- ing it over the tongue and lay it on the engraving. Upon this is laid another piece of dry paper, and securing both with the thumb and forefinger of the left hand, so they will not be moved, go over the entire surface with a bur- nisher made of steel or bone, with a pointed end. This will press the lower paper into the engraving and cause the wax to adhere to it. Then the top paper is removed and the corner of the lower one gently raised. The whole is then carefully peeled off, and underneath will be found a reversed, sharp impres- sion of the engraving. The edges of the paper are then cut so it can be fitted in a position on the other articles similar to that on the original one. When this is done lay the paper in the proper posi- tion and rub the index finger lightly over it, which will transfer a clear likeness of the original engraving. If due care is taken two dozen or more transfers can be made from a single impression. TRICKS WITH FIRE: See Pyrotechnics. TUBERS, THEIR PRESERVATION: See Roots. TUBS: TO RENDER SHRUNKEN TUBS WATER-TIGHT: See Casks. TUNGSTEN STEEL: See Steel. TURMERIC IN FOOD: See Foods. TURPENTINE STAINS: See Wood. TYPEWRITER RIBBONS— VALVES Til TURTLE (MOCK) EXTRACT: See Condiments. TWINE : See also Thread and Cordage. Tough twine may be greatly strength- ened by dissolving plenty of alum in water and laying the twine in this solu- tion. After drying, the twine will have much increased tensile strength. Typewriter Ribbons (See also Inks.) The constituents of an ink for type- writer ribbons may be broadly divided into four elements: 1, the pigment; 2, the vehicle; 3, the corrigent; 4, the solvent. The elements will differ with the kind of ink desired, whether permanent or copy- ing. Permanent (Record) Ink. — Any finely divided, non-fading color may be used as the pigment; vaseline is the best vehicle and wax the best corrigent. In order to make the ribbon last a long time with one inking, as much pigment as feasible should be used. To make black record ink: Take some vaseline, melt it on a slow fire or water bath, and incorporate by constant stirring as much lampblack as it will take up without becoming granular. Take from the fire and allow it to cool. The ink is now practically finished, except, if not entirely suitable on trial, it may be improved by adding the corrigent wax in small quantity. The ribbon should be charged with a very thin, evenly divided amount of ink. Hence the necessity of a solvent — in this instance a mixture of equal parts of petroleum benzine and rectified spirit of turpentine. In this mixture dissolve a sufficient amount of the solid ink by vigorous agitatitfn to make a thin paint. Try the ink on one extremity of the ribbon; if too soft, add a little wax to make it harder; if too pale, add more color- ing matter; if too hard, add more vaseline. If carefully applied to the ribbon, and the excess brushed off, the result will be satisfactory. On the same principle, other colors may be made into ink; but for delicate colors, albolene and bleached wax should be the vehicle and corrigent, respectively. The various printing inks may be used if properly corrected. They require the addition of vaseline to make them non- drying on the ribbon, and of some wax if found too soft. Where printing inks are available, they will be found to give excellent results if thus modified, as the pigment is well milled and finely divided. Even black cosmetic may be made to answer, by the addition of some lamp- black to the solution in the mixture of benzine and turpentine. After thus having explained the prin- ciples underlying the manufacture of permanent inks, we can pass more rapidly over the subject of copying inks, wnich is governed by the same general rules. For copying inks, aniline colors form the pigment; a mixture of about 3 parts of water and 1 part of glycerine, the vehicle; transparent soap (about J part), the corrigent; stronger alcohol (about 6 parts), the solvent. The desired aniline color will feasily dissolve in the hot vehicle, soap will give the ink the neces- sary body and counteract the hygro- scopic tendency of the glycerine, and in the stronger alcohol the ink will readily dissolve, so that it can be applied in a finely divided state to the ribbon, where the evaporation of the alcohol will leave it in a tnin film. There is little more to add. After the ink is made and tried — if too soft, add a little more soap; if too hard, a little more glycerine; if too pale, a little more pigment. Printer's copy- ing ink can be utilized here likewise. Users of the typewriter should so set a fresh ribbon as to start at the edge near- est the operator, allowing it to run back and forth with the same adjustment until exhausted along that strip; then shift the ribbon forward the widtn of one letter, running until exhausted, and so on. Finally, when the whole ribbon is ex- hausted, the color will have been equably used up, and on reinking, the work will appear even in color, while it will look patchy if some of the old ink has been left here and there and fresh ink applied over it. UDDER INFLAMMATION: See Veterinary Formulas. valV!es. The manufacturers of valves test each valve under hydraulic pressure before it is sent out from the factory, yet they frequently leak when erected in the pipe lines. This is due to the misu.se of the erector in most cases. The following are the most noteworthy bad practices to be avoided when fitting in valves: I. — Screwing a valve on a pipe very tightly, without first closing the valve. Closing the valve makes the body much 712 VALVES more rigid and able to withstand greater strains and also keeps the iron chips from lodging under the seats, or in the working parts of the valves. This, of course, does not apply to check valves. II. — Screwing a long mill thread into a valve. The threads on commercial pipes are very long and should never be screwed into a valve. An elbow or tee will stand the length of thread very well, but a suitable length thread should be cut in every case on the pipe, when used to screw into a valve. If not, the end of pipe will shoulder against the seat of valve and so distort it that the valve will leak very badly. III. — The application of a pipe wrench on the opposite end of the valve from the end which is being screwed on the pipe. This should never be done, as it m- variably springs or forces the valve seats from their true original bearing with the disks. IV. — Never place the body of a valve in the vise to remove the bonnet or center- piece from a valve, as it will squeeze together the soft brass body and throw all parts out of alignment. Properly to remove the bonnet or centerpiece from a valve, either screw into each end of the valve a short piece of pipe and place one piece of the pipe in the vise, using a wrench on the square of bonnet; or if the vise is properly constructed, place the square of the bonnet in same and use the short piece of pipe screwed in each end as a fever. When using a wrench on square of bonnet or centerpiece, use a Stillson or Trimo wrench with a piece of tin between the teeth of the jaws and the finished brass. It may mark the brass slightly, but this is preferable to round- ing off all the corners with an old monkey wrench which is worn out and sprung. As the threads on all bonnets or center- pieces are doped with litharge or cement, a sharp jerk or jar on the wrench will start the bonnet much more cjuickly than a steady pull. Under no circum- stances try to replace or remove the bonnet or centerpiece of a valve without first opening it wide. This will prevent the bending of the stem, forcing tne disk down through the seat or stripping the threads on bonnet where it screws into body. If it is impossible to remove bon- net or centerpiece by ordinary methods, heat the body of the valve just outside the thread. Then tap lightly all around the thread with a soft hammer. This method never fails, as the heat expands the body ring and breaks the joint made by the litharge or cement. E! V. — The application of a large monkey wrench to the stuffing box of valve. Many valves are returned with the stuffing boxes split, or the threads in same stripped. This is due to the fact that the fitter or engineer ha^ used a large- sized monkey wrench on this small part. VI. — The screwing into a valve of a long length of unsupported pipe. For example, if the fitter is doing some re- pair work and starts out witn a run of 2-inch horizontal pipe from a 2-inch valve connected to main steam header, the pipe being about 18 feet long, after he has screwed the pipe tightly into the valve, he leaves the helper to support the ipe at the other end, while he gets the anger ready. The helper in the mean- time has become tired and drops his shoulder on which the pipe rests about 3 inches and in consequence the full weight of this 18-foot length of pipe bears on the valve. The valve is badly sprung and when the engineer raises steam the next morning the valve leaks. When a valve is placed in the center of a long run of pipe, the pipe on each side, and close to tne valve, should be well supported. VII. — The use of pipe cement in valves. When it is necessary to use pipe cement in joints, this mixture should always be placed on the pipe thread which screws into the valve, and never in the valve itself. If the cement is placed in the valve, as the pipe is screwed into the valve it forces the cement between the seats and disks, where it will soon harden and thus prevent the valve from seating properly. VIII. — Thread chips and scale in pipe. Before a pipe is screwed into a valve it should be stood in a vertical gosition and struck sharply with a ammer. This will release the chips from the thread cutting, and loosen the scale inside of pipe. When a pipe line containing valves is connected up, the valves should all be opened wide and the pipe well blown out before they are again closed. This will remove foreign sub- stances which are liable to cut and scratch the seats and disks. IX. — Expansion and contraction. Ample allowance must be provided for expansion and contraction in all steam lines, especially when brass valves are included. The pipe and fittings are much more rigid and stiff than the brass valves and in consequence the expan- sion strains will relieve themselves at the weakest point, unless otherwise pro- vided for. VALVES— VANILLA 713 X. — The use of wrenches or bars on valve wheels to close the valves tightly. This should never be done, as it springs the entire valve and throws all parts out of alignment, thus making the valve leak. The manufacturer furnishes a wheel sufficiently large properly to close against any pressure for which it is suitable. If the valves cannot be closed tightly by this means, there is something between the disks and seats or they have been cut or scratched by foreign substances. Vanilla (See also Essences and Extracts.) The best Mexican vanilla yields only in the neighborhood of 1.7 per cent of vanillin; that from Reunion and Gua- deloupe about 2.5 per cent; and that from Java 2.75 per cent. There seems to be but little connection between the quantity of vanillin contained in vanilla pods and their quality as a flavor pro- aucer. Mexican beans are esteemed the best and yet they contain far less than the Java. Those from Brazil and Peru contain much less than those from Mexico, and yet they are considered in- ferior in quality to most others. The vanillin of the market is chiefly, if not entirely, artificial and is made from the coniferin of such pines and firs as abies excelsa, a. pectinata, pinus cembra, and p. strobus, as well as from the eugenol of cloves and allspice. Vanillin also ex- ists in asparagus, lupine seeds, the seeds of the common wild rose, asafetida, and gum benzoin. A good formula for a vanilla extract is the following: Vanilla 1 ounce Tonka 2 ounces Alcohol, deodor- ized 32 fluidounces Syrup 8 fluidounces Cut and bruise the vanilla, afterwards adding and bruising the Tonka; macerate for 14 days in 16 fluidounces of the alco- hol, with occasional agitation; pour off the clear liquid and set aside; pour the remaining alcohol on the magma, and heat by means of a water bath to about 168° P., in a closely covered vessel. Keep it at that temperature for 2 or 3 hours, then strain through flannel with slight pressure; mix the two portions of liquid and filter through felt. Lastly, add the syrup. To render this tinc- ture perfectly clear it may be treated with pulverized magnesium carbonate, using from J to 1 drachm to each pint. To Detect Artificial Vanillin in Vanilla Extracts (see also Foods). — There is no well-defined test for vanillin, but one can get at it in a negative way. The artificial vanillin contains vanillin iden- tical with the vanillin contained in the vanilla bean; but the vanilla bean, as the vanilla extract, contains among its many "extractive matters" which enter into the food and fragrant value of vanilla extract, certain rosins which can be identified with certainty in analysis by a number of de- termining reactions. Extract made with- out true vanilla can be detected by nega- tive results in all these reactions. Vanilla beans contain 4 to 11 per cent of this rosin. It is of a dark red to brown color and furnishes about one-half the color of the extract of vanilla. This rosin is soluble in 50 per cent alcohol, so that in extracts of high grade, where sufficient alcohol is used, all rosin is kept in solution. In cheap extracts, where as little as 20 per cent of alcohol by volume is sometimes used, an alkali — usually potassium bicarbonate — is added to aid m setting rosin, gums, etc., in solution, and to prevent subsequent turpidity. This treatment deepens the color very materially. Place some of the extract to be exam- ined in a glass evaporating dish and evaporate the alcohol on the water bath. When alcohol is removed, make up about the original volume with hot water. If alkali has not been used in the manu- facture of the extract, the rosin will ap- pear as a flocculent red to brown residue. Acidify with acetic acid to free rosin from bases, separating the whole of the rosin and leaving a partly decolorized, clear supernatant liquid after standing a short time. Collect the rosin on a filter, wash with water, and reserve the filtrate for further tests. Place a portion of the filter with the attached rosin in a few cubic centimeters of dilute caustic potash. The rosin is dissolved to a deep-red solution. Acid- ify. The rosin is thereby precipitated. Dissolve a portion of the rosin in alcohol; to one fraction add a few drops of fer- ric chloride; no striking coloration is Eroduced. To another portion add ydrochloric acid; again there is little change in color. In alcoholic solution most rosins give color reactions with fer- ric chloride or hydrochloric acid. To a portion of the filtrate obtained above add a few drops of basic lead acetate. The precipitate is so bulky as to almost 714. VANILLA— VARNISHES solidify, due to the excessive amount of organic acids, gums, and other extractive matter. The filtrate from this precipi- tate is nearly, but not quite, colorless. Test another portion of the filtrate from the rosin for tannin with a solution of gelatin. Tannin is present in varying but small quantities. It should not be present in groat excess. To Detect I'onka in Vanilla Extract. — The following' test depends on the chem- ical difference between coumarin and vanillin, the odorous principles of the two beans. Coumarin is the anhydride of coumaric acid, and on fusion with a caus- tic alkali yields acetic and salicylic acids, while vanillin is methyl protocatechin aldehyde, and when treated similarly yields protocatechuic acid. The test is performed by evaporating a small quan- tity of the extract to dryness, and melting the residue with caustic potash. Trans- fer the fused mass to a test tube, neu- tralize with hydrochloric acid, and add a few drops of ferric chloride solution. If Tonka be present in the extract, the beautiful violet coloration characteristic of salicylic acid will at once become evi- dent. Vanilla Substitute. — A substitute for vanilla extract is made from synthetic vanillin. The vanillin is simply dis- solved in diluted alcohol and the solution colored with a little caramel and sweet- ened perhaps with syrup. The follow- ing is a typical formula: Vanillin 1 ounce Alcohol 6 quarts Water 5 quarts Syrup 1 quart Caramel sufficient to color. An extract so made does not wholly represent the flavor of the bean; while vanillin is the chief flavoring constituent of the bean, there are present other sub- stances which contribute to the flavor; and connoisseurs prefer this combina- tion, the remaining members of which have not yet been made artificially. VANILLIN: See Vanilla. Varnishes (See also Enamels, Glazes, Oils, Paints, Rust Preventives, Stains, and Water- proofing.) Varnish is a solution of resinous matter forming a clear, limpid fluid capable of hardening without losing its transparency. It is used to give a shining, transparent, hard, and preservative covering to the finished surface of woodwork, capable of resisting in a greater or less degree the influence of the air and moisture. This coating, when applied to metal or mineral surfaces, takes the name of lacquer, and must be prepared from rosins at once more adhesive and tenacious than those entering into varnish. The rosins, commonly called gums, suitable for varnish are of two kinds — the hard and the soft. The hard varie- ties are copal, amber, and the lac rosins. The dry soft rosins are juniper gum (commonly called sandarac), mastic, and dammar. The elastic soft rosins are benzoin, elemi, anime, and turpentine. The science of preparing varnish con- sists in combining these classes of rosins in a suitable solvent, so that each conveys its good qualities and counteracts the bad ones of the others, and in giving the desired color to this solution without affecting the suspension of the rosins, or detracting from the drying and harden- ing properties of the varnish. In spirit varnish (that made with alco- hol) the hard and the elastic gums must be mixed to insure tenderness and solidity, as the alcohol evaporates at once after applying, leaving the varnish wholly dependent on the gums for the tenadious and adhesive properties; and if the soft rosins predominate, the varnish will remain 'tacky" for a long time. Spirit varnish, however good and convenient to work with, must always be inferior to oil varnish, as the latter is at the same time more tender and more solid, for the oil in oxidizing and evaporating thickens and forms rosin which continues its softening and binding presence, whereas in a spirit varnish the alcohol is promptly mssi- pated, and leaves the gums on the sur- face of the work in a more or less granu- lar and brittle precipitate which chips readily and peels off. Varnish must be tender and in a manner soft. It must yield to the movements of the wood in expanding or contracting with the heat or cold, and must not inclose the wood like a sheet of glass. This is why oil varnish is superior to spirit varnish. To obtain this supple- ness the gums must be dissolved in some liquid not highly volatile like spirit, but one which mixes with them in substance permanently to counteract their extreme friability. Such solvents are the oils of lavender, spike, rosemary, and turpen- tine, combined with linseed oil. The vehicle in which the rosins are dissolved roust be sgft and remain so in orcJw to VARNISHES 715 t keep the rosins soft which are of them- selves naturally hard. Any varnish from which the solvent has completely dried out must of necessity become hard and 'lassy 'and chip off. But, on the other land, if the varnish remains too soft and "tacky," it will "cake" in time and destroy the effect desired. Aside from this, close observers if not chemists will agree that for this work it is much more desirable to dissolve these rosins in a liquid closely related to them in chemical composition, rather than in a liquid of no chemical relation and which no doubt changes certain properties of the rosins, and cuts them into solution more sharply than does turpentine or linseed oil. It is a well-known fact that each time glue is liquefied it loses some of its adhesive properties. On this same principle it is not desirable to dis- solve varnish rosins in a liquid very un- like them, nor in one in which they are quickly and highly soluble. Modern ef- fort has been bent on inventing a cheap varniA, easily prepared, that will take the place of oil varnish, and the market is flooded with benzine, carbon bisul- phide, and various ether products which are next to worthless where wearing and durable properties are desired. Alcohol will hold in solution only about one-third of its weight in rosins. Turpentine must be added always last to spirit varnish. Turpentine in its clear recently distilled state will not mix with alcohol, but must first be oxidized by exposing it to the air in an uncorked bottle until a small quantity taken there- from mixes perfectly lyith alcohol. This usually takes from a pionth to six weeks. Mastic must be added last of all to the ingredients of spirit varnish, as it is not wholly soluble in alcohol but entirely so in a solution of rosins in alcohol. Spirit varnishes that prove too hard and brittle may be improved by the addition of either of the oils of turpentine, castor seed, lavender, rosemary, or spike, in the proportion required to bring the varnish to tne proper temper. Coloring "Spirit" Varnishes. — ^ In modern works the following coloring substances are used, separately and in blends: Saffron (brilliant golden yellow), dragon's blood (deep reddish brown), gamboge (bright yellow), Soco- tririe or Bombay aloes (liver brown), asphalt, ivory, and bone black (black), sandalwood, pterocarpus santalinus, the heartwood (dark red), Indian sandal- wood, pterocarpus indica, the heart- wood (orange red), brazil wbod (dark yellow), myrrh (yellowish to reddish brown; darkens on exposure), madder (reddish brown), logwood (brown), red scammony rosin (light red), turmeric (orange yellow), and many others ac- cording to the various shades desired. Manufacturing Hints. — Glass, coarse- ly powdered, is often added to varnish when mixed in large quantities for the purpose of cutting the rosins and pre- venting them from adhering to the bot- tom and sides of the container. When possible, varnish should always be com- pounded without the use of heat, as this carbonizes and otherwise changes the constituents, and, besides, danger always ensues from the highly inflammable nature of the material employed. How- ever, when heat is necessary, a water bath should always be used; the varnish should never fill the vessel over a half to three-fourths of its capacity. The Gums Used in Making Varnish.— Juniper gum or true sandarac comes in long, yellowish, dusty tears, and requires a high temperature for its manipulation in oil. The oil must be so hot as to scorch a, feather dipped into it, before this gum is added; otnerwise the gum is burned. Because of this, juniper gum is usually displaced in oil varnisn by gum dammar. Both of these gums, by tlieir dryness, counteract the elasticity of oil as well as of other gums. The usual sandarac of commerce is a brittle, yellow, transparent rosin from Africa, more soluble in turpentine than in alcohol. Its excess renders varnish hard and brit- tle. Commercial sandarac is also often a mixture of the African rosin with dam- mar or hard Indian copal, the place of the African rosin being sometimes taken by true juniper gum. This mixture is the pounce of the shops, and is almost insoluble in alcohol or turpentine. Dammar also largely takes the place of tender copal, gum anime, white amber, white incense, and white rosin. The latter three names are also often applied to a mixture of oil and Grecian wax, sometimes used in varnish. When ^um dammar is used as the main rosin in a varnish, it should be first fused and brought to a boiling point, but not thawed. This eliminates the property that renders dammar varnish soft and "tacky" if not treated as above. Venetian turpentine has a tendency to render varnish "tacky" and must be skillfully counteracted if this effect is to be avoided. Benzoin in varnish exposed to any degree of dampness has a ten- 716 VARNISHES dency to swell, and must in such cases be avoided. Elemi, a fragrant rosin from Egypt, in time grows hard and brittle, and is not so soluble in alcohol as anime, which is highly esteemed for its more tender qualities. Copal is a name given rather indiscriminately to various gums and rosins. The East Indian or African is the tender copal, and is softer and more transparent than the other varieties; when pure it is freely soluble in oil of turpentine or rosemary. Hard copal comes in its best form from Mexico, and is not readily soluble in oil unless first fused. The brilliant, deep-red col- or of old varnish is said to be cased on dragon's blood, but not the kind that comes in sticks, cones, etc. (which is always adulterated), but the clear, pure tear, deeper in color than a carbuncle, and as crystal as a ruby. This is sel- dom seen in the market, as is also the tear of gamboge, which, mixed with the tear of dragon s blood, is said to be the basis of the brilliant orange and gold varnish of the ancients. Of all applications used to adorn and protect the surface of objects, oil var- nishes or lacquers containing hard ros- ins are the best, as they furnish a hard, glossy coating which does not crack and IS very durable even when exposed to wind and rain. To obtain a varnish of these desirable qualities the best old linseed oil, or varnish made from it, must be combined with the residue left by the dry distilla- tion of amber or very hard copal. This distillation removes a quantity of vola- tile oil amounting to one-fourth or one- fifth of the original weight. The residue is pulverized and dissolved in hot linseed- oil varnish, forming a thick, viscous, yellow-brown liquid, which, as a rule, must be thinned with oil of turpentine before being applied. Hard rosin oil varnish of this sort may conveniently be mixed with the solution of asphalt in the oil of turpentine with the aid of the simple apparatus described below, as the stiffness of the two liquids makes hand stirring slow and laborious. A cask is mounted on an axle which projects through both heads, but is inclined to the axis of the cask, so that when the ends of the axle are set in bear- ings and the cask is revolved, each end of the cask will rise and fall alternately, and any liquid which only partly fills the cask will be thoroughly mixed and churned in a short time. The cask is two-thirds filled with the two thick var- nishes (hard rosin in linseed oil and asphalt in the oil of turpentine) in the desired proportion, and after these have been intimately mixed by turning the cask, a sufficient quantity of rectified oil of turpentine to give proper consistence is added and the rotation is continued until the mixture is perfectly uniform. To obtain the best and most durable result with this mixed oil, rosin, and as- phalt varnish it is advisable to dilute it freely with oil of turpentine and to apply 2 or 3 coats, allowing each coat to dry before the next is put on. In this way a deep black and very glossjr surface is obtained which cannot be distinguished from genuine Japanese lacquer. Many formulas for making these mixed asphalt varnishes contain rosin — usually American rosin. The result is the production of a cheaper but inferior varnish. The addition of such soft rosins as elemi and copaiba, however, is made for another reason, and it im- proves the quality of the varnish for certain purposes. Though these rosins soften the lacquer, they also make it more elastic, and therefore more suitable for coating leather and textile fabrics, as it does not crack in consequence of repeated bending, rolling, and folding. In coloring spirit varnish the alcohol should always be colored first to the desired shade before mixing with the rosin, except where ivory or Done black is used. If the color is taken from a gum, due allowance for the same must be made in the rosins of the varnish. For instance, in a varnish based on mastic, 10 parts, and tender copal, 5 parts, in 100 parts, if this is to be colored with, say, 8 parts of dragon's blood (or any other color gufn), the rosins must be reduced to mastic, 8 parts, and tender copal, 4 parts. Eight parts of color gum are here equivalent to 3 parts of varnish rosin. This holds true with gamboge, aloes, myrrh, and the other gum rosins used for their color. This seeming dis- proportion is due to the inert matter and gum insoluble in alcohol, always present in these gum rosins. Shellac Varnish. — This is made in the general proportion of 3 pounds of shellac to a gallon of alcohol, the color, temper, etc., to be determined by the require- ments of the purchaser, and the nature of the wood to which the varnish is to be applied. Shellac varnish is usually tem- pered with sandarac, elemi, dammar, and the oil of linseed, turpentine, spike, or rosemary. _ Various impurities held in suspension in shellac varnish may be entirely pre- cipitated by the gradual addition of some VARNISHES 717 crystals of oxalic acid, stirring the varnish to aid their solution, and then setting it aside overnight to permit the impurities to settle. No more acid should be used than is really necessary. Rules for Varnishing. — 1. Avoid as far as possible all manipulations with the varnishes; do not dilute them with oil of turpentine, and least of all with siccative, to expedite the drying. If the varnish has become too thick in consequence of faulty storing, it should be heated and receive an addition of hot, well-boiled linseed-oil varnish and oil of turpentine. Linseed-oil varnish or oil of turpentine added to the varnish at a common tem- perature renders it streaky (flacculent) and dim and has an unfavorable influ- ence on the drying; oil of turpentine takes away the gloss of varnish. 2. Varnishing must be done only on smooth, clean surfaces, if a fine, mirror- like gloss is desired. 3. Varnish must be poured only into clean vessels, and from these never back into the stationary vessels, if it has been in contact with the brush. Use only dry brushes for varnishing, which are not moist with oil of turpentine or linseed oil or varnish. 4. Apply varnishes of all kinds as uni- formly as possible; spread them out evenly on the surfaces so that they form neither too thick nor too thin a layer. If the varnish is put on too thin the coat- ing shows no gloss; if applied too thick it does not get even and does not form a smooth surface, but a wavy one. 5. Like all oil-paint coatings, every coat of varnish must be perfectly dry before a new one is put on; otherwise it is likely that the whole work will show cracks. The consumer of varnish is only too apt to blame the varnish for all defects which appear in his work or develop after some time, although this can only be proven in rare cases. As a rule, the ground was not prepared right and the different layers of paint were not sufficiently dry, if the surfaces crack after a comparatively short time and have the appearance of maps. The cracking of paint must not be confounded with the cracking of the varnish, for the cracking of the paint will cause the varnish to crack prematurely. The varnish has to stand more than the paint; it protects the latter, and as it is transparent, the de- fects of the paint are visible through the varnish, which frequently causes one to form the erroneous conclusion that the varnish has cracked, 6. AH varnish coatings must dry slowly, and during the drying must be absolutely protected from dust, flies, etc., until they have reached that stage when we can pass the back of the hand or a finger over them without sticking to it. The production of faultless varnishing in most cases depends on the accuracy of the varnisher, on the treatment of his brush, his varnish pot, and all the other accessories. A brush which still holds the split points of the bristles never var- nishes clear; they are rubbed off easily and spoil the varnished work. A brush which has never been used does not pro- duce clean work; it should be tried several times, and when it is found that the var- nishing accomplished by its use is neat and satisfactory it should be kept very carefully. The preservation of the brush is thus accomplished: First of all do not place it in oil or varnish, for this would form a skin, parts of which would adhere to it, rendering the varnished surface unclean and grainy; besides these skins there are other particles which accumulate in the corners and cannot be removed by dust- ing off; these will also injure the work. In order to preserve the brush properly, insert it in a glass of suitable size through a cork in the middle of which a hole has been bored exactly fitting the ha-ndle. Into the glass pour a mixture of equal parts of alcohol and oil of turpentine, and allow only the point of the brush to touch the mixture, if at all. If the cork is air-tight the brush cannot dry in the vaj)or of oil of turpentine and spirit. From time to time the liquids in the glass should be replenished. If the varnish remains in the varnish receptacle, a little alcohol may be poured on, which can do the varnish no harm. At all events the varnish will be pre- vented from drying on the walls of the vessel and from becoming covered by a skin which is produced by the linseed oil, and which indicates that the varnish is both fat and permanent. No skin forms on a meager varnish, even when it drys thick. After complete drying of the coat of varnish it sometimes happens that the varnish becomes white, blue, dim, or blind. If varnish turns white on ex-, posure to the air the quality is at fault. The varnish is either not fat enough or it contains a rosin unsuitable for exterior work (copal). The whitening occurs a few days after the drying of the varnish and can be removed only by rubbing off the varnish. Preventing Varnish from Crawling. — Rub down the surface to be varnished 718 VARNISHES with sharp vinegar. Coating with strong- ly diluted ox gall is also of advantage. Amber Varnish. — -This varnish is cap- able of giving a very superior polish or surface, and is especially valuable for coach and other high-class work. The amber is first bleached by placing a quantity — say about 7 pounds — of yel- low amber in a suitable receptacle, such as an earthenware crucible, of sufH- cient strength, adding 14 pounds of sal gemmae (rock or fossil salt), and then pouring in as much spring water as will dissolve the sal gemmae. When the lat- ter is dissolved more water is added, and the crucible is placed over a fire until the color of the amber is changed to a perfect white. The bleached amber is then placed in an iron pot and heated over a common fire until it is completely dissolved, after which the melting pot is removed from the fire, and when suffi- ciently cool the amber is taken from the pot and immersed in spring water to eliminate the sal gemmae, after which the amber is put back into the pot and is again heated over the fire till the amber is dissolved. When the operation is finished the amber is removed from the pot and spread out upon a clean marble slab to dry until all the water has evap- orated, and is afterwards exposed to a gentle heat to entirely deprive it of hu- midity. Asphalt Varnishes. — Natural asphalt is not entirely soluble in any liquid. Al- cohol dissolves only a small percentage of it, ether a much larger proportion. The best solvents are benzol, benzine, rectified petroleum, the essential oils, and chloroform, which leave only a small residue undissolved. The em- ployment of ether as a solvent is im- practicable because of its low boiling point, 97° F., and great volatility. The varnish would dry almost under the brush. Chloroform is not open to this objection, but it is too expensive for ordinary use. Rectified petroleum is u, good solvent of asphalt, but it is not a desirable ingredient of varnish because, though the greater part of it soon evaporates, a small quantity of less volatile substances, which is usually present in even the most thoroughly rectified petroleum, causes the varnish to remain "tacky" for a considerable time and to retain a disagreeable odor much longer. Common coal-tar benzine is also a good solvent and has the merit of cheapness, but its great volatility makes the varnish dry too quickly for convenient use, especially in summer. The best solvent, probably, is oil of turpentine, which dissolves asphalt al- most completely, producing a varnish which dries quickly and forms a perfect coating if the turpentine has been well rectified. The turpentine should be a "water white," or entirely colorless, liquid of strong optical refractive power and agreeable odor, without a trace of smokiness. A layer i of an inch in depth should evaporate in a short time so com- pletely as to leave no stain on a glass dish. But even solutions of the best Syrian asphalt in the purest oil of turpentine, if they are allowed to stand undisturbed for a long time in large vessels, deposit a thick, semi-fluid precipitate which a large addition of oil of turpentine fails to convert into a uniform thin liquid. It may be assumed that this deposit con- sists of an insoluble or nearly insoluble part of the asphalt which, perhaps, has been deprived of solubility by the action of light. Hence, in order to obtain u, uniform solution, this thick part must be removed. This can be done, though imperfectly, by carefully decanting the solution after it has stood for a lone time in large vessels. This tedious and troublesome process may be avoided by filtering the solution as it is made, by the following simple and quite satis- factory method: The solution is made in a large cask, lying on its side, with a round hole about 8 inches in diameter in its upper bilge. This opening is pro- vided with a well-fitting cover, to the bottom of which a hook is attached. The asphalt is placed in a bag of closely woven canvas, which is inclosed in a second bag of the same material. The diameter of the double bag, when filled, should be such as to allow it to pass easily through the opening in the cask, and its lengtli such that, when it is hung on the hook, its lower end is about 8 inches above the bottom of tbe cask. The cask is then filled with rectified oil of turpentine, closed, and left undis- turbed for several days. The oil of tur- pentine penetrates into the bag and dis- solves the asphalt, and the solution, which is heavier than pure oil of turpentine, exudes through the canvas and sinks to the bottom of the cask. Those parts of the asphalt which are quite insoluble, or merely swell in the oil of turpentine, cannot pass through the canvas, and are removed with the bag, leaving a perfect solution. When all soluble portions have been dissolved, the bag, with the cover, is raised and hung over the open- ing to drain. If pulverized asphalt has VARNISHES 719 been used the bag is found to contain only a small quantity of semi-fluid residue. This, thinned with oil of turpentine and applied with a stiS brush and considerable force, forms a thick, weather-resisting, and very durable coat- ing for planks, etc. The proportion of asphalt to oil of turpentine is so chosen as to produce, in the cask, a pretty thick varnish, which may be thinned to any desired degree hy adding more turpentine. For use, it should be just thick enough to cover bright tin and entirely conceal the metal with a single coat. When dry, this coat is very thin, but it adheres very firmly, and continually increases in hardness, probably because of the effect of light. This supposition is supported by the diflB- culty of removing an old coat of asphalt varnish, which will not dissolve in tur- pentine even after long immersion, and usually must be removed by mechanical means. For a perfect, quick-drying asphalt varnish the purest asphalt must be used, such as Syrian, or the best Trinidad. Trinidad seconds, though better than some other asphalts, yield an inferior varnish, owing to the presence of impur- ities. Of artificial asphalt, the best for this purpose is the sort known as "mineral caoutchouc," which is especially suit- able for the manufacture of elastic dressings for leather and other flexible substances. For wood and metal it is less desirable, as it never becomes as hard as natural asphalt. FORMULAS: I. — A solution of 1 part of caoutchouc in 16 parts of oil of turpentine or kero- sene is mixed with a solution of 16 parts of copal in 8 parts of linseed-oil varnish. To the mixture is added a solution of 2 parts of asphalt in 3 or 4 parts of lin- seed-oil varnish diluted with 8 or 10 parts of oil of turpentine, and the whole is filtered. This is a fine elastic varnish. II. — Coal-tar asphalt, American as- phalt, rosin, benzine, each 20 parts; linseed-oil varnish, oil of turpentine, coal- tar oil, each 10 parts; binoxide of man- ganese, roasted lampblack, each 2 parts. The solid ingredients are melted to- gether and mixed with the linseed-oil varnish, into which the lampblack has been stirred, and, finally, the other liquids are added. The varnish is strained through tow. Bicycle Varnish.' — This is a spirit var- pish, preferably made by a cold proc- ess, and requires less technical knowl- edge than the preparation of fatty var- nishes. The chief dependence is upon the choice of the raw materials. These raw materials, copal, shellac, etc., are first broken up small and placed in a barrel adapted for turning upon an axis, with a hand crank, or with a belt and pulley from a power shaft. The barrel IS of course simply mounted in a frame of wood or iron, whichever is the most con- venient. After the barrel has received its raw material, it may be started and kept revolving for 24 hours. Long in- terruptions in the turning must be care- fully avoided, particularly in summer, for the material in the barrel, when at rest, will, at this season, soon form a large lump, to dissolve which will con- sume mucn time and labor. To prevent the formation of a semi-solid mass, as well as to facilitate the dissolving of the gum, it would be well to put some hard, smooth stones into the barrel with the varnish ingredients. Bicycle Dipping Varnish (Baking Var- nish). — Take 50 parts, by weight, of Syrian asphalt; 50 parts, by weight, of copal oil; 50 parts, oy weight, of thick varnish oil, and 105 parts, by weight, turpentine oil, to which add 7 parts, by Weight, of drier. When the asphalt is melted through and through, add the copal oil and heat it until the water is driven off, as copal oil is seldom free from water. Now take it off the fire and allow it to cool; add first the sicca- tive, then the turpentine and linseed oil, which have been ^eviously thoroughly mixed together. This bicycle varnish does not get completely black until it is baked. Black Varnishes.— Black spirit lacquers are employed in the wood and metal in- dustries. Different kinds are produced according to their use. They are called black Japanese varnishes, or black brill- iant varnishes. Black Japanese Varnish. — I. — Sculpture varnish, 5 parts; red acaroid varnish, 2 parts; aniline black, i part; Lyons blue, .0016 parts. If a sculpture varnish pre- Cared with heated copal is employed, a lack lacquer of especially good quality is obtained. Usually 1 per cent of oil of lavender is added. II. — Shellac 4 parts Borax 2 parts Glycerine 2 parts Aniline black 5 parts Water 60 parts Dissolve the borax in the water, add 720 VARNISHES the shellac, and heat until solution is effected; then add the other ingredients. This is a mat-black varnish. For Blackboards. — For blackening these boards mix § liter (1.05 pints) good alcohol, 70 grams (1,080 grains) shellac, 6 grams (92 grains) fine lampblack, 3 grams (46 grains) fine chalk free from sand. If red lines are to be drawn, mix the necessary quantity of red lead in alcohol and shellac. Bookbinders' Varnishes. — I II III IV V Per Per Per Per Per Cent Cent Cent Cent Cent Shellac 14.5 6.5 13.5 6.3 8.3 Mastic 6.0 2.0 .. 1.1 Sandarac... 6.0 13.0 .. 1.3 1.1 Camphor... 1.0 .. 0.5 1.5 Benzoin 13.7 Alcohol 72.5 78.5 86.0 79.2 75.8 Scent with oil of benzoin, of lavender, or of rosemary. Other authors give the following recipes: VI VII VIII IX Per Per Per Per Cent Cent Cent Cent Blond shellac. 11.5 13.0 9.0 White shellac. 11.5 Camphor 0.7 Powdered sugar 0.7 Sandarac . . 18.0 6.6 Mastic . . . . 13.0 Venice turpen- tine .. 2.0 6.6 Alcohol 77.0 85.6 71.0 73.8 All solutions may be prepared in the cold, but the fact that mastic does not dissolve entirely, must not be lost sight of. Bottle Varnish. — Bottles may be made to exclude light pretty well- by coating them with asphaltum lacquer or varnish. A formula recommended for this purpose is as follows: Dissolve asphaltum, 1 part, in light coal-tar oil, 2 parts, and add to the solution about 1 per cent of castor oil. This lacquer dries somewhat slowly, but adheres very firmly to the glass. As- phaltum lacquer may also be rendered less brittle by the addition of elemi. Melt together asphaltum, 10 parts, and elemi, 1 part, and dissolve the cold fused mass in light coal-tar oil, 12 parts. Amber-colored bottles for substances acted upon by the actinic rays of light may be obtained from almost any manu- facturer of bottles. Can Varnish. — Dissolve shellac, 15 parts, by weight; Venice turpentine, 2 parts, by weight; and sandarac, 8 parts, by weight, in spirit, 75 parts, by weight. • Copal Varnish. — Very fine copal var- nish for those parts of carriages which require the highest polish, is prepared as follows: I. — Melt 8 pounds best copal and mix vrith 20 pounds very clear matured oil. Then boil 4 to 5 hours at moderate heat until it draws threads; now mix with 35 pounds oil of turpentine, strain and keep for use. This varnish dries rather slowly, there- fore varnishers generally mix it one-half with another varnish, which is prepared by boiling for 4 hours, 20 pounds clear linseed oil and 8 pounds very pure, white anime rosin, to which is subsequently added 35 pounds oil of turpentine. II. — Mix the following two varnishes: (a) Eight pounds copal, 10 pounds lin- seed oil, i pound dried sugar of lead, 35 pounds oil of turpentine. (6) Eight pounds good anime rosin, 10 pounds linseed oil, J pound zinc vitriol, 35 pounds oil of turpentine. Each of these two sets is boiled separately into varnish and strained, and then both are mixed. This varnish dries in 6 hours in winter, and in 4 hours in summer. For old articles which are to be re-varnished black, it is very suitable. Elastic Limpid Gum Varnishes. — I. — In order to obtain a limpid rubber varnish, it is essential to have the rubber entirely free from water. This can be obtained by cutting the rubber into thin strips, or better, into shreds as fine as possible, and drying them, at a temper- ature of from 104° to 122° F., for several days or until they are water free, then proceed as follows: II. — Dissolve 1 part of the desiccated rubber in 8 parts of petroleum ether (benzine) and add 2 parts of fat copal varnish and stir in. Or, cover 2 parts of dried rubber with 1 part of ether; let stand for several days, or until the rubber has taken up as much of the ether as it will, then liquefy by standing in a vessel of moderately warm water. While still warm, stir in 2 parts of linseed oil, cut with 2 parts of turpentine oil. ENAMEL VARNISHES: Antiseptic Enamel. — This consists of a solution of spirituous gum lac, rosin, and copal, with addition of salicylic acid, etc. Its purpose is mainly the preven- tion or removal of mold or fungous formation. The salicylic acid contained m the mass acts as an antiseptic during the painting, and destroys all fungi present. VARNISHES 721 Bath-Tub Enamel Unaffected by Hot Water.— I. — In order to make paint hold on the zinc or tinned copper lining of a bath tub, a wash must be used to produce a film to -which oil paint will adhere. First remove all grease, etc., with a solution of soda or ammonia and dry the surface thoroughly; then apply with a wide, soft brush equal parts, by weight, of chloride of copper, nitrate of copper, and sal ammoniac, dissolved in 64 parts, by weight, of water. When dissolved add 1 part, by weight, of commercial muri- atic acid. This solution must be kept in glass or earthenware. It will dry m about 12 hours, giving a grayish-black coating to which paint will firmly adhere. . The priming coat should be white lead thinned with turpentine, with only just sufficient linseed oil to bind it. After this is thoroughly dry, apply one or more coats of special bath-tub enamel, or a gloss paint made by mixing coach colors ground in Japan with hard-drying varnish of the best quality. Most first-class manufacturers have special grades that will stand hot water. II. — The following preparation pro- duces a brilliant surface on metals and is very durable, resisting the effect of blows without scaling or chijjping off, and being therefore highly suitable for cycles and any other articles exposed to shock: For the manufacture of 44 gallons, 11 pounds of red copper, 8.8 pounds of yel- low copper, 4.4 pounds of hard steel, and 4.4 pounds of soft steel, all in a com- minuted condition, are well washed in petroleum or mineral spirit, and are then treated with concentrated sulphuric acid in a lead-lined vessel, with continued stirring for 2 hours. After 12 hours' rest the sulphuric acid is neutralized with Javel extract, and the fine powder left in the vessel is passed through a silk sieve to remove any fragments of metal, then ground along with linseed oil, ivory black, and petroleum, the finely divided mass being afterwards filtered through flannel and incorporated with a mixture of Bombay gum, 22 pounds; Damascus gum, 11 pounds; Judea bitumen, 22 pounds; Norwegian tar rosin, 11 pounds; and 11 pounds of ivory black ground very fine in refined petroleum. When perfectly homogeneous the mass is again filtered, and is then ready for use. It is laid on with a brush, and then fixed by exposure to a temperature of -between 400° and 800° F. The ivory black may be replaced by other coloring matters, according to requirements. A Color Enamel. — On the piece to be enameled apply oil varnish or white lead, and add a powder giving brilliant re- fiections, such as diamantine, brilliantine, or argentine. Dry in a stove. Apply a new coat of varnish. Apply the powder again, and finally heat in the oven. Afterwards, apply several layers of varnish; dry each layer in the oven. Apply pumice stone in powder or tripoli, and finally apply a layer of Swedish varnish, drying in the oven. This enamel does not crack. It adheres per- fectly, and is advantageous for the pieces of cycles and other mobiles. Cold Enameling. — This style of enam- eling is generally employed for repairing purposes. The various colors are either prepared with copal varnish and a little oil of turpentine, or else they are melted together with mastic and a trifle of oil of spike. In using the former, the surface usually settles down on drying, and ordinarily the latter is preferred, which is run on the cracked-off spot by warming the article. After the cooling, file the cold enamel off uniformly, and restore the gloss by quickly drawing it through the flame. For black cold enamel melt mastic together with lampblack, which is easily obtained by causing the flame of a wick dipped into linseed oil to touch a piece of tin. White. — White lead or flake white. Red. — Carmine or cinnabar (vermil- ion). Blue. — Ultramarine or Prussian blue. Green. — Scheele's green or Schwein- furt green. Brown. — Umber. Yellow. — Ocher or chrome yellow. The different shades are produced by mixing the colors. Enamel for Vats, etc. — Two different enamels are usually employed, viz., one for the ground and one for the top, the latter being somewhat harder than the former. Ground enamel is prepared by melting in an enameled iron kettle 625 parts brown shellac, 125 parts French oil of turpentine, with 80 parts colophony, and warming in another vessel 4,500 parts of spirit (90 per cent). As soon as the rosins are melted, remove the pot from the fire and add the spirit in portions of 250 parts at a time, seeing to it that the spirit added is completely combined with the rosins by stirring before adding any more. When all the spirit is added, warm the whole again for several min- utes on the water bath (free fire should 722 VARNISHES be avoided, on account of danger of fire), and allow to settle. If a yellow color is desired, add yellow ocher, in which case the mixture may also be used as floor varnish. The top enamel (hard) consists of 500 parts shellac, 125 parts French oil of tur- pentine, and 3,500 parts spirit (90 per cent). Boiling in the water bath until the solution appears clear can only be of advantage. According to the thick- ness desired, one may still dilute in the cold with high-strength spirit. Tinting may be done, as desired, with earth colors, viz., coffee brown with umber, red with English red, yellow with ocher, silver gray with earthy cerussite, and some lampblack. Before painting, dry out the vats and putty up the joints with a strip of dough which is prepared from ground enamel and finely sifted charcoal or brown coal -ashes, and apply the enamel after the putty is dry. The varnish dries quickly, is odorless and tasteless, and extraordinarily durable. If a little annealed soot black is added to this vat enamel, a fine iron varnish is obtained which adheres very firmly. Leather (spattering leather on car- riages) can also be nicely varnished witn it. Finishing ■ Enamel for White Furni- ture. — Various methods are practiced in finishing furniture in white enamel, and while numerous preparations in- tended for the purpose named are gen- erally purchasable of local dealers in paint supplies, it is often really difScult, and frequently impossible, to obtain a, first-class ready-made enamel. To prepare such an article take J pint of white lead and add to it J pint of pure turpentine, J gill of pale coach Japan, and J gill of white dammar varnish. Mix all the ingredients together thor- oughly. Apply with a camel's-hair brush, and for large surfaces use a 2-inch double thick brush. There should be at least three coats for good work, applied after an interval of 24 hours between coats; and for strictly high-class work four coats will be necessary. Each coat should be put on thin and entirely free from brush marks, sandpapering being carefully done upon each coat of pigment. Work that has been already painted or varnished needs to be cut down with, say, No. J sandpaper, and then smoothed fine with No. i paper. Then thin white lead to a free working consistencj; with turpentine, retaining only a weak binder of oil in the pigment, and apply two coats of it to the surface. Give each coat plenty of time to harden (36 hours should suffice), after which sandpapering with No. IJ paper had best be done. Ordinarily, upon two coats of white lead, the enamel finish, as above detailed, may be successfully pro- duced. For the fine, rich enamel finish adapted to rare specimens of furniture and developed in the mansions of the multimillionaires, a more elaborate and complex process becomes necessary. Quick-Drying Enamel Colors. — En- amel colors which dry quickly, but re- main elastic so that applied on tin they will stand stamping without cracking off, can be produced as follows: In a closed stirrer or rolling cask place 21.5 parts, by weight, of finely powdered pale French rosin, 24^ parts, by weight, of Manila copal, as well as 35 parts, by weight, of denaturized spirit (95 per cent), causing the cask or the stirrer to rotate until all the gum has completely dissolved, which, according to the tem- perature of the room in which the stirrer IS and the hardness of the gums, re- quires 24 to 48 hours. When the gums are entirely dissolved add to the mix- ture a solution of 21 J parts, by weight, of Venice oil turpentine in 0.025 parts, by weight, of denaturized spirit of 95 per cent, allowing the stirrer to run another 2 to 3 hours. For the purpose of removing any impurities present or any undis- solved rosin from the varnish, it is poured through a hair sieve or through a three- fold layer of fine muslin (organdie) into suitable tin vessels or zinc-lined barrels for further clarification. After 10 to 14 days the varnish is ready for use. By grinding this varnish with the corre- sponding dry pigments the desired shades of color may be obtained; but it is well to remark that chemically pure zinc white cannot be used with advan- tage because it thickens and loses its covering power. The grinding is best carried out twice on an ordinary funnel mill. Following are some recipes: I. — Enamel White. — Lithopone, 2 parts, by weight; white lead, purest, J part, by weight; varnish, 20 parts, by weight. II. — Enamel Black. — Ivory black, 2 parts, by weight; Paris blue, 0.01 part, by weight; varnish, 23 parts, by weight. Ill-— Pale Gray. — Graphite, 2 parts, by weight; ultramarine, 0.01 part, by weight; lithopone, 40 parts, by weight; varnish, 100 parts, by weight. IV.— Dark Gray. — Graphite, 3 parts, by weight; ivory black, 2 parts, by weight; lithopone, 40 parts, by weight; varnish, 110 parts, by weight. VARNISHES 723 V. — Chrome Yellow, Pale. — Chrome yellow, 2 parts, by weight; lithopone, 2 parts, by weight; varnish, 40 parts, by weight; benzine, IJ parts, by weight. VI. — Chrome Yellow, Dark. — Chrome yellow, dark, 2 parts, by weight; chrome orange, f part, Dy weight; lithopone, 1 part, by weight; varnish, 35 parts, by weight; benzine, 1 part, by weight. VII. — Pink, Pale. — Carmine, J part, by weight; lithopone, 15 parts, by weight; varnish, 40 parts, by weight; benzine, Ij parts, by weight. VIII. — Pink, Dark. — Carmine, J part, by weight; Turkey red, 1 part, by weight; lithopone, 15 parts, by weight; varnish, 40 parts, by weight. IX. — ^Turkey Red. — Turkey red, pale, 2 parts, by weight; lithopone, 1 part, by weight; Turkey red, dark, 1 part, by weight; white lead, pure, j part, by weight; var- nish, 18 parts, by weight; benzine, J part, by weight. X. — Flesh Tint. — Chrome yellow, pale, H parts, by weight; graphite, J part, by weight; lithopone, 15 parts, by weight; Turkey red, pale, 2 parts, by weight; varnish, 42 parts, by weight; benzine, J part, by weight. XI. — Carmine Red. — Lead sulphate, 5 parts, by weight; Turkey red, pale, 6 parts, by weight; carmine, IJ parts, by Weight; orange minium, 3 parts, by weight; vermilion, 2 parts, by weight; varnish, 50 parts, by weight; benzine, IJ parts, by weight. XII. — Sky Blue. — Ultramarine, 5 parts, by weight; lithopone, 5 parts, by weight; ultramarine green, 0.05 parts, by weight; varnish, 30 parts, by weight; benzine, 1 part, by weight. XIII. — Ultramarine.— Ultra blue, 5 parts, by weight; varnish, 12 parts, by weight; benzine, J part, by weight. XIV. — Violet. — Ultramarine, with red tinge, 10 parts, by weight; carmine, 0.6 parts, by weight? varnish, 25 parts, by weight. XV. — Azure. — Paris blue, 10 parts, by weight; lithopone, 100 parts, by weight; varnish, 300 parts, by weight. XVI. — Leaf Green. — Chrome green, pale, 5 parts, by weight; varnish, 25 parts, by weight; benzine, J part, by weight. XVII. — Silk Green. — Silk green, 10 parts, by weight; chrome yellow, pale, i Eart, by weight; lead sulphate, 5 parts, y weight; varnish, SOparts, by weight; benzine, J part, by weight. XVIII. — Brown. — English red, 10 parts, by weight; ocher, light, 3 parts, by weight; varnish, SO parts, by weight; benzine, J part, by weight. XIX. — Ocher. — Frencli ocher,10 parts, by weight; chrome yellow, dark, J part, by weight; varnish, 30 parts, by weight; benzine. J part, by weight. XX. — Chocolate. — Umber, 10 parts, by weight; Florentine lake, | part, by weight; varnish, 26 parts, by weight; benzine, j part, by weight. XXI.— Terra Cotta.— Chrome yellow, pale, 10 parts, by weight; Turkey red, dark, 3 parts, by weight; varnish, 35 parts, by weight. XXII. — Olive, Greenish. — French ocher, 5 parts, by weight; Paris blue, J part, by weight; graphite, i part, by weight; varnish, 26 parts, by weight; lithopone, 6 parts, by weight. XXIII. — Olive, Brownish. — Chrome orange, 6 parts, by weight; Paris blue, 2 parts, by weight; lead sulphate, 10 parts, by weight; English red, 1 part, by weight; varnish, 40 parts, by weight; benzine, 1 J parts, by weight. XXI v.— OUve, Reddish.— Turkey red, dark, 76 parts, by weight; sap green, 75 parts, by weight; ocher, pale, 5 parts, by weight; varnish, 300 parts, by weight; benzine, IJ parts, by weight. ENGR'aVERS' VARNISHES. In copper-plate engraving the plate must be covered with a uark-colored coating which, though entirely unaffected by the etching fluid, must be soft enough to allow the finest lines to be drawn with the needle and must also be susceptible of complete and easy removal when the etching is finished. Varnishes which possess these properties are called "etch- ing grounds." They are made accord- ing to various formulas, but in all cases the principal ingredient is asphalt, of which only the best natural varieties are suitable for this purpose. Another com- mon ingredient is beeswax, or tallow. Etching grounds are usually made in small quantities, at a single operation, by melting and stirring the solid ingredients together and allowing the mass to cool in thin sheets, which are then dissolved in oil of turpentine. The plate is coated uniformly .with this varnish through which the engraver's tool readily pene- trates, laying bare the metal beneath. After the lines thus drawn have been etched by immersing the plate in acid, the varnish is washed oft with oil of turpentine. The following formulas for etching grounds have been extensively used by engravers; 1U VARNISHES I II III IV Yellow wax 50 30 110 40 parts Syrian asphalt. . . 20 20 25 40 parts Rosin 20 parts Amber 20 . . parts Mastic 25 25 25 ..parts Tallow 2 parts Bergundy pitch 10 parts FLOOR VARNISHES. I. — Manila copal, spirit- soluble 12 parts Ruby shellac, pow- dered 62 parts Venice, turpentine.. . . 12 parts Spirit, 96 per cent .... 250 parts The materials are dissolved cold in a covered vat with constant stirring, or better still, in a stirring machine, and filtered. For the pale shades take light ocher; for dark ones, Amberg earth, which are well ground with the varnish in a paint mill. II. — Shellac, A C leaf, 1.2 parts; san- darac, 8 parts; Manila copal, 2 parts; rosin, 5 parts; castor or linoleic acid or wood oil acid, 1.50 parts; spirit (96 per cent), 65 parts. French Varnish. — So-called French varnish is made by dissolving 1 part of bleached or orange shellac in 5 parts of alcohol, the solution being allowed to stand and the clear portion then being de- canted. The varnish may be colored by materials which are soluble in alcohol. For red, use 1 part of eosin to 49 parts of the bleached shellac solution. For blue, use 1 part of aniline blue to 24 parts of the bleached shellac solution, as the orange shellac solution would impart a greenisn cast. For green, use 1 part of aniline green (brilliant green) to 49 parts of the orange shellac solution. For yel- low, use either 2 parts of extract of tur- meric or 1 part of gamboge to 24 parts of the solution, or 1 part of aniline yellow to 49 parts of the solution. For golden yellow, use 2 parts of gamboge and 1 part of dragon's blood to 47 parts of the orange shellac solution. The gamboge and dragon's blood should be dissolved first in a little alcohol. Golden Varnishes. — I. — Powdered benzoin . . 1 part Alcohol enough to make 10 parts. Pure saffron, roughly broken up, about 6 threads to the ounce. Macerate 3 days and filter. Vary the quantity of safFron according to the snade desired. Mastic and juniper gum may be added to this varnish if a heavier body is desired. II. — Benzoin, juniper gum, gum mas- tic, equal parts. Dissolve the gums in 9 times their weight of alcohol (varied more or less according to the consistency wanted), and color to the desired shade with threads of pure saffron. This varnish is very brilliant and dries at once. India -Rubber Varnishes. — I. — Dissolve 10 pounds of India rubber in a mix- ture of 10 pounds of turpentine and 20 pounds of petroleum by treating same on a water bath. When the solution is completed add 45 pounds of drying oil and 5 pounds of lampblack and mix thoroughly. II. — Dissolve 7 pounds of India rub- ber in 25 pounds of oil of turpentine. By continued heating dissolve 14 pounds of rosin in the mixture. Color while hot with 3 pounds of lampblack. Inlay Varnish. — ■ Ozokerite 17 parts Carnauba wax 3 parts Turpentine oil 15 parts Melt the ozokerite and Carnauba wax, then stir in the turpentine oil. This varnish is applied like a polish and im- parts to the wood a dark natural color and a dull luster. Japanning Tin. — The first thing to be done when a vessel is to be japanned, is to free it from all grease and oil, by rub- bing it with turpentine. Should the oil, however, be linseed, it may be allowed to remain on the vessel, which must in that case be put in an oven and heated till the oil becomes quite hard. After these preliminaries, a paint of the shade desired, ground in linseed oil, is applied. For brown, umber may be used. When the paint has been satisfactorily applied it should be hardened by heat- ing, and then smoothed down by rubbing with ground pumice stone applied gently by means of a piece of felt moistened with water. To be done well, this re- quires care and patience, and, it might be added, some experience. The vessel is next coated with a var- nish, made by the following formula: Turpentine spirit .... 8 ounces Oil of lavender 6 ounces Camphor l drachm Bruised copal 2 ounces Perhaps some other good varnish would give equally satisfactory results. After this the vessel is put in an oven and heated to as high a temperature as it will bear without causing the varnish to VARNISHES 725 blister or run. When the varnish has become hard, the vessel is taken out and another coat is put on, which is submitted to heat as before. This process may be repeated till the judgment of the opera- tor tells him that it is no longer advisable. Some operators mix the coloring mat- ter directly with the varnish; when this is done, care should be taken that the pig- ment is first reduced to an impalpable powder, and then thoroughly mixed with the liquid. LABEL VARNISHES. I. — Sandarac 3 ounces av. Mastic J ounce av. Venice turpentine 150 grains Alcohol 16 fluidounces Macerate with repeated stirring until solution is effected, and then filter. The paper labels are first sized with diluted mucilage, then dried, and then coated with this varnish. If the labels have been written with water-soluble inks or color, they are first coated with 2 coats of collodion, and then varnished. II. — The varnished labels of stock ves- sels often suffer damage from the spilling of the contents and the dripping after much pouring. Formalin gelatin is capable of with- standing the baneful influence of ether, benzine, water, spirit of wine, oil, and most substances. The following method of applying the preservative is recom- mended: Having thoroughly cleaned the surface of the vessel, paste the label on and allow it to dry well. Give it a coat of thin collodion to protect the letters from being dissolved out or caused to run, then after a few minutes paint over it a coat of gelatin warmed to fluidity — 5 to 25 — being careful to cover in all the edges. Just before it solidifies go over it with a tuft of cotton dipped into a 40 per cent formalin solution. It soon dries and becomes as glossy as varnish, and may be coated again and again without danger of impairing the clear white of the label or decreasing its transparency. Leather Varnishes. — I.^An excellent varnish for leather can be made from the following recipe: Heat 400 pounds of boiled oil to 212° F., and add little by little 2 pounds of bichromate of potash, keeping the same temperature. The addition of the bichromate should take about 15 minutes. Raise to 310° F., and add gradually during 1 hour at that temperature, 40 pounds Prussian blue. Heat for 3 hours more, gradually raising to 482° to S72° F., with constant stirring. In the meantime, heat together at 392° F., for J an hour, 25 pounds linseed oil, 35 pounds copal, 75 pounds turpentine, and 7 pounds ceresine. Mix the two varnishes, and dilute, if necessary, when cold with turpentine. The varnish should require to be warmed for easy application with the brush. II. — Caoutchouc, 1 part; petroleum, 1 part; carbon bisulphide, 1 part; shellac, 4 parts; bone black, 2 parts; alcohol, 20 parts. First the caoutchouc is brought together with carbon bisul- phide in a well-closed bottle and stood aside for a few days. As soon as the caoutchouc is soaked add the petroleum and the alcohol, then the finely powdered shellac, and heat to about 125° F. When the liquid appears pretty clear, which indicates the solution of all substances, the bone black is added by shaking thoroughly and the varnish is at once filled in bottles which are well closed. This pouch composition excels in drying quickly and produces upon the leather a smooth, deep black coating, which pos- sesses a certain elasticity. METAL VARNISHES. The purpose of these varnishes is to protect the metals from oxidation and to render them glossy. Aluminum Varnish. — The following is a process giving a special varnish for aluminum, out it may also be employed for other metals, giving a coating unal- terable and indestructible by water or atmospheric influences: Dissolve, prefer- ably in an enameled vessel, 10 parts, by weight, of gum lac in 30 parts of liquid ammonia. Heat on the water bath for about 1 hour and cool. The aluminum to be covered with this varnish is care- fully cleaned in potash, and, having applied the varnish, the article is placed in a stove, where it is heated, during a certain time, at a suitable temperature (about 1062° F.). Brass Varnishes Imitating Gold. — I. — An excellent gold varnish for brass ob- jects, surgical or optical instruments, etc., is prepared as follows: Gum lac, in grains, pulverized, 30 parts; dragon's blood, 1 part; red sanders wood, 1 part; pounded glass, 10 parts; strong alcohol, 600 parts; after sufficient maceration, filter. The powdered glass simply serves for accelerating the dissolving, by inter- posing between the particles of gum lac and opal. II. — Reduce to powder, 160 parts, by weight, of turmeric of best quality, and pour over it 2 parts, by weight, of saffron. 726 VARNISHES and 1,700 parts, by weight, of spirit; digest in a warm place 24 hours, and filter. Next dissolve 80 parts, by weight, of dragon's blood; 80 parts, by weight, of sandarac; 80 parts, by weight, of elemi gum; 50 parts, by weight, of gamboge; 70 parts, by weight, of seedlac. Mix these substances with 250 parts, by weight, of crushed glass, place them in a flask, and pour over this mixture the alcohol colored as above described. Assist the solution by means of a sand or water bath, and filter at the close of the operation. This is a fine varnish for brass scientific instru- ments. Bronze Varnishes. — I. — The follow- ing process yields a top varnish for bronze goods and other metallic ware in the most varying shades, the varnish ex- celling, besides, in high gloss and dur- ability. Fill in a, bottle, pale shellac, best quality, 40 parts, by weight; pow- dered Florentine lake, 12 parts, by weight; gamboge, 30 parts, by weight; dragon's blood, also powdered, 6 parts, by weight; and add 400 parts, by weight, of spirit of wine. This mixture is al- lowed to dissolve, the best way being to heat the bottle on the water bath until the boiling point of water is almost reached, shaking from time to time until all is dissolved. Upon cooling, decant the liquid, which constitutes a varnish of dark-red color, from any sediment that may be present. In a second bottle dis- solve in the same manner 24 parts, by weight, of gamboge in 400 parts, by weight, of spirit of wine, from which will result a varnish of golden-yellow tint. According to the hue desired, mix the red varnish with the yellow variety, pro- ducing in this way any shade from the deepest red to the color of gold. If re- quired, dilute with spirit of wine. The application of the varnish should be con- ducted as usual, that is, the article should be slightly warm, it being necessary to adhere strictly to a certain temperature, which can be easily determined by trials and maintained by experience. In order to give this varnish a pale-yellow to greenish-yellow tone, mix 10 drops of picric aqid with about 3 parts, by weight, of spirit of wine, and add to a small quantity of the varnish some of this mix- ture until the desired shade has been reached. Picric acid is poisonous, and the keeping of varnish mixed with this kcid in a closed bottle is not advisable, because there is danger of an explosion. Therefore, it is best to prepare only so much varnish at one time as is necessary for the immediate purpose. Srbwn Varnish. — An excellent and (juickly drying brown varnish for metals is made by dissolving 20 ounces of gum kino and 5 ounces of gum benjamin in 60 ounces of the best cold alcohol; 20 ounces of common shellac and 2 ounces of thick turpentine in 36 ounces of alcohol also give a very good varnish. If the brown is to have a reddish tint, dissolve 50 ounces of ruby shellac, 5 ounces balsam of copaiba, and 2 to 5 ounces of aniline brown, with or without J to 1 ounce of aniline violet, in 150 ounces of alcohol. Copper Varnishes. — These two are for polished objects: I. — One hundred and ten parts of sandarac and 30 parts of rosin, dissolved in sufficient quantity of alcohol; 5 parts of glycerine are to be added. II. — Sandarac 10 parts Rosin 3 parts Glycerine J part Alcohol, a suiBcient quantity. Dissolve the two rosins in sufficient alcohol and add the glycerine. Decorative Metal Varnishes. — • I II III IV Per Per Per Per Cent Cent Cent Cent Seedlac 11.5 Amber 7.6 Gamboge.. . . 7.6 Dragon's blood 0.18 Saffron 0.16 Sandarac Mastic Elemi Venice tur- pentine Camphor. ... Aloe Alcohol 72.96 77 15 14 13.5 16.6 3.4 1.0 3.4 7. 66. 63.2 As will be seen, only natural colors are used. The so-called "gold lacquer" is composed as follows: Sandarac, 6. 23 parts; mastic, 3 parts; shellac, 12.5 parts; Venice turpentine, 2.5 parts; aloe, 0.75 parts; gamboge, 3 parts; alcohol, 72 parts. The solution is filtered. Ap- plied in a thin coating this varnish shows a handsome golden shade. Other metal varnishes have the following composi- tion: V Per Cent Shellac 17.5 Yellow acaroid gUm. .13.1 Manila Alcohol 69 . 4 VI VII Per Per Cent Cent 18.0 25.6 8.0 9.0 67.0 63.0 VARNISHES 727 Gold Varnish. — 1. — A good gold var- nish for coating moldings which pro- duces great brnliancy is prepared as follows: Dissolve 3 pounds of snellac in 30 quarts of alcohol, & pounds of mas- tic in 5 (juarts of alcohol, 3 pounds of sandarac in 5 quarts of alcohol, 5 pounds of gamboge in 5 quarts of alcohol, 1 pound of dragon's blood in 1 quart of alcohol, 3 pounds of Saunders in 5 quarts of alco- hol, 3 pounds of turpentine in 3 quarts of alcohol. After all the ingredients have been dissolved separately in the given quantity of absolute alcohol and filtered, tlie solutions are mixed at a moderate heat. II. — A varnish which will give a splendid luster, and any gold color from deep red to golden yellow, is prepared by taking 50 ounces pale shellac, 15 pounds Florentine lake (precipitated from cochi- neal or redwood decoction by alum onto strach, kaolin, or gypsum), 25 ounces of sandalwood, and 8 ounces of dragon's blood. These in fine powder are dis- solved on the water bath, in 500 ounces rectified spirit. The spirit must boil and remain, with occasional shaking, for 2 to 3 hours on the bath. Then cool and decant. In the meantime heat in an- other flask on the bath 30 ounces of gamboge in 600 ounces of the same spirit. The two liquids are mixed until the right color needed for the particular purpose in hand is obtained. Dilute with spirit if too thick. The addition of a little picric acid gives a greenish-yellow bronze but makes the varnish very liable to ex- plode. These varnishes are applied to gently warmed surfaces with a soft , bristle brush. Gold Varnish for Tin. — ^This is obtained in the following manner: Spread out 5 parts, by weight, of finely powdered crystallized copper acetate in a warm spot, allowing it to lie for some time; then grind the powder, which will have ac- quired a light-brown shade, with oil of turpentine and add, with stirring, 15 Earts, by weight, of fat copal varnish eated to 140° F. When the copper a Lead Potassium Aluminum sulphate. acetate. acetate. ^ 4PbSo, + aKCaHsOa + Al.(CaH,OOs Now that sulphate of alumina is in common use, alum need not be used, as the potash in it serves no purpose in proofing. . , There are man^ dompositlons con- ferring water: resisting powers upon tex- tiles, but unfortuniltely they eithet af- fect the general handle of the material and make it stiff, or they stain and dis- color it, which is equally bad. A krge range of waterproof compositions can be got by using stearates of the metals; these, in nearly every case, are insoluble bodies, and when deposited in the in- terior of a fabric form a water-resisting "filling" which is very effective. As a rule these stearates .are deposited on the material by means of double baths; for example, by passing the fabric through (say) a bath of aluminum acetate, and then, after squeezing out the excess of liquid, passing it through a bath of soap. The aluminum salt on the fabric de- composes the soap, resulting in a deposit of insoluble stearate of alumina. This system of proofing in two baths is clean- er and more economical than adding all the ingredients together, as the stearate formed is just where it is required "on the fibers, and not at the bottom of the bath. ^ One of the most important patents now worked for waterproofing purposes is on the lines of the old alumina process. In this case the factor used is rosin, dissolved in a very large bulk of petro- leum spirit. The fabrics to be proofed (usually dress materials) are passed through a bath of this solution, and carefully dried to drive off the solvent. Following this, the goods are treated by pressing with hot polished metal rollers. This last process melts the small quan- tity of rosin, which is deposited on the cloth, and leaves each single fiber with an exceedingly thin film of rosin on it. It will be understood that only a very attenuated solution of rosin is per- missible, so that the fibers of the threads and not the threads themselves are coated with it. If the solution contains too much rosin the fabric is stiffened, and the threads cemented together; whereas if used at the correct strength (or, rather, weakness) neither fabric nor dye suffers, and there is no evidence of stickiness of any description. Fig. 9. Fig. 9 shows a machine used for spreading a coat of either proofing or any other fluid on one side of the fabric. 748 WATERPROOFING This is done by means of a roller, A, running in the proofing solution, the material to be coated traveling slowly over the top and just in contact with the roller. A, which transfers the proofing to it. Should the solution used be of a thick nature, then a smooth metal roller will transfer sufficient to the fabric. If the reverse is the case, and the liquid used is very thin, then the roller is covered with felt, which very materially adds to its carrying power. As shown in Fig. 9, after leaving the two squeezing rollers, BB, the fabric passes slowly round a large steam-heated cylinder, C, with the coated side uppermost. This dries the proofing and fastens it, and the cloth is taken off at D. Besides stearates of the metals, glues and gelatins have been used for proof- ing purposes, but owing to their stiffen- ing effect, they are only of use in some few isolated cases. With glue and gelatin the fixing agent is either tannic acid or some metallic Salt. Tannic acid converts gelatin into an insoluble leather-like body; this can be deposited in the interstices of the fabric by passing the latter through a gelatin bath first, and then squeezing and passing through the tannic acid. Bichromate of potash also possesses the property of fixing the proteid bodies and rendering them in- soluble. The following are special processes used to advantage in the manufacture of waterproof fabrics: I. — Ordinary Fabrics, Dressing Ap- parel, etc. — Immerse in a vat of acetate of alumina (5° Be.) for 12 hours, lift, dry, and let evaporate at a temperature of from 140° to 149° F. II. — Sailcloth, Awnings, Thick Blank- ets, etc. — Soak in a 7 per cent solution of gelatin at 104° F., dry, pass through a 4 per cent solution of alum, dry again, rinse in water, and dry. III. — Fabrics of Cotton, Linen, Jute, and Hemp.— Put into a bath of am- moniacal cupric sulphate of 10° Be. at a temperature of 87° F. ; let steep thorough- ly, then put in a bath of caustic soda (20° Be.) and dry. To increase the im- permeability, a bath of sulphate of al- umina may be substituted for the caustic- soda bath. ly. — Saturate the fabrics with the fol- lowing odorless compound, subjecting them several times to a brushing machine having several rollers, where the warp threads will be well smoothed, and a waterproof product of fine sheen and scarcely fading will be the result. The compound is made with 30 parts, by weight, of Japan wax, 22^ parts, by weight, of paraffine, 12 parts, by weight, of rosin soap, 35 parts, by weight, of starch, and 5 parts, oy weight, of a 5 per cent solution of alum. Fabrics thus pre- pared are particularly adapted to the manufacture of haversacks, shoes, etc. V. — White or Light Fabrics. — Pass first through a bath of acetate of alumina of 4° to 5° Be. at a temperature of 104° F., then through the rollers to rid of all liquid; put into a warm solution of soap (5 parts, by weight, of olive-oil soap to 100 parts, by weight, of fresh water) and finally pass through a 2 pei- cent solution of alum, dry for 2 or 3 days on the drop- ping horse, and brush off all particles of soap. VI. — Dissolve IJ parts, by weight, of gelatin in 50 parts, by weight, of boil- ing water, add IJ parts, by weight, of scraped tallow soap and 2i parts, by weight, of alum, the latter being put in gradually; lower the temperature of the bath to 122° F., lift out the fabric, dry, and calender. VII. — Tent Cloth. — Soak in a warm solution of 1 part, by weight, of gelatin, 1 part, by weight, of glycerine, and 1 Eart, by weight, of tannin in 12 parts, y weight, of wood vinegar (pyroligne- ous acid) of 12° Be. The whole is melted in a kettle and carefully mixed. The mass is poured into the receiver of the brushing machine, care being taken to keep it liquid. For a piece of 500 feet in length and 20 inches in width, 50 to 80 parts, by weight, of this com- pound are needed. VIII. — To freshen worn waterproof material, cover with the following: Fifty- five thousand parts, by weight, of gelatin; 100 parts, by weight, of bichromate of potash; 100 parts, by weight, of acetic acid (to keep glue from congealing), and from 3,000 to 5,000 parts, by weight, of water; to this add 500 parts, by weight, of^ peroxide of ammoniacal copper, 100° ^- This compound is put on the fabric Be. with a brush and then exposed to air and light. IX. — Soft Hats. — The hats are stiffened as usual, then put through the following three baths: Dissolve i part, by weight, of tallow soap in from 40 to 50 parts, by weight, of warm water (140° F.). Put 3 to 4 dozen hats into this solution, leave them in it for half an hour, then take out and put them as they are into another bath prepared with 40 to 50 parts, by weight, of water and J part, by weight, of alum and heated to 86° to 104° F. After WATERPROOFING 749 having been left in the second bath for J or i hour, take' out as before, put into the third bath of 40 to 50 parts, by weight, of water, J part, by weight, of alum, and about 13 parts, by weight, of fish glue. In this cold bath the hats are left for another i hour or more until they are completely saturated with the liquid, then dried and the other operations con- tinued. X. — Woolen cloth may be soaked in a vat filled with aluminum acetate, of 5° Be., for 12 hours, then removed, dried, and dried again at a temperature of 140° F. XI. — Wagon covers, awnings, and sails are saturated with a 7 per cent gelatin solution, at a temperature of 104° F., dried in the air, put through a 4 per cent solution of alum, dried again in the air, carried through water, and dried a third time. XII. — Cotton, linen, iute, and hemp fabrics are first thoroughly saturated in a bath of ammonio-cupric sulphate, of 10° Be., at a temperature of 77° F., then put into a solution of caustic soda, 2° Be., and dried. They may be made still more impervious to water by substituting a solution of aluminum sulphate for the caustic soda. XIII. — White and light-colored fabrics are first put into a bath of aluminum acetate, 4° to 5° Be., at a temperature of 102° F., the superfluous liquid being re- moved from the fabric by press roUers. The fabric is put into a soap solution (5 parts of good Marseilles soap in 100 parts of soft water). Finally it is put through a 2 per cent alum solution, and left to dry for 2 or 3 days on racks. The adhering particles of soap are removed by brushing with machinery. XIV. — Dissolve 1.5 parts of gelatin in 50 parts of boiling water, add 1 .5 parts of shavings of tallow grain soap, and gradually, 2.5 parts of alum. Let this cool to 122° F., draw the fabric through it, dry and calender. XV. — Cellular tissues are made water- proof by impregnating them with a warm solution of 1 part, by weight, of gelatin, 1 part, by weight, of glycerine, and 1 part, by weight, of tannin, in 12 parts, by weight, of wood vinegar, 12° Be. XVI. — Linen, hemp, jute, cotton, and other fabrics can be given a good odor- less waterproof finish by impregnating them, and afterwards subjecting them to the action of several mechanical brush rollers. By this process the_ fabric is brushed dry, the fibers are laid smooth. the threads of the warp brought out, and a glossy, odorless, unfading waterproof stuff results. Fabrics manufactured in the usual way from rough and colored yarns are put through a bath of this waterproof finish, whose composition is as foflows: Thirty parts, by weight, of Japanese wax; 22.5 parts, by weight, of paraffine; 15 parts, by weight, of rosin soap; 35 parts, by weight, of starch, and 5 parts, by weight, of a 5 per cent alum solu- tion. The first three components are melted in a kettle, the starch and, lastly, the alum added, and the whole stirred vigorously. XVII. — One hundred parts, by weight, of castor oil are heated to nearly 204° F., with 50 parts, by weight, of caustic potash, of 50° Be., to which SO parts, by weight, of water have previously been added. Forty parts, by weight, of cooler water are then added slowly, care being taken to keep the temperature of the mixture constant. As soon as the liquor begins to rise, 40 parts, by weight, of cooler water are again added, with the same precaution to keep the temperature from falling below 204° F. At the same time care must be taken to prevent the liquor boiling, as this would produce too great saponification. By the prolonged action of heat below the boiling point, the oil absorbs water and caustic potash without being changed, and the whole finally forms a perfectly limpid, nearly black liquid. This is diluted with 5 times its weight of hot or cold water, and is then ready for use without any further preparation. Other vegetable oils may be employed besides castor oil, and the quantity of unsaponified oil present ma^ be increased by stirring the prepared liquid with a fresh quantity of castor or other vegetable oil. The product is slight- ly alkaline, but wool fiber is not injured, as the oiling may be done in the cold. The solution is clear and limpid, and will not separate out on standing like an emul- sion. This product in spinning gives a 10 per cent better utilization of the raw material owing to the greater evenness and regularity with which the fibers are oiled; in weaving less oiling is required. The product can be completely re- moved oy water, preferably by cold water, and scouring of the goods subse- quently with soap, soda, or fuller's earth can thus be dispensed with. XVIII. — Cloth may be rendered Water- f)roof by rubbing the imder side with a ump of beeswax until the surface presents a uniform white or grayish appearance. This Qietfaod it is said renders the cloth 750 WATERPROOFING practically waterproof, although still leav- ing it porous to air. XIX. — Coating the under side of the cloth with a solution of isinglass and then applying an infusion of galls is another method, a compound being thus formed which is a variety of leather. XX. — ^An easy method is the formation of aluminum stearate in the fiber of the cloth, which may readily be done by im- mersing it in a solution of aluminum sulphate in water (1 in 10) and without allowing it to dry passing through a solu- tion of soap made from soda and tallow or similar fat, in hot water. Reaction between the aluminum sulphate and the soap produces aluminum stearate and sodium sulphate. The former is insoluble and remains in the fiber; the latter is re- moved by subsequently rinsing the fabric in water. XXI. — A favorite method for cloth is as follows: Dissolve in a. receptacle, preferably of copper, over a bright coal fire, 1 liter (1.76 pints) of pure linseed oil, 1 liter (1.76 pints) of petroleum, J liter (0.88 pints) of oil turpentine, and 125 grams (4.37 ounces) of' yellow wax, the last named in small bits. As there is danger of fire, boiling of this mass should be avoided. With this hot solution re- moved from the fire, of course the felt material is impregnated; next it is hung up in a warm, dry room or spread out, but in such a manner that the uniform temperature can act upon all parts. Waterproofing Leather. — I. — Ten- ning's process is as follows: Melt together equal parts of zinc and linseed oil, at a temperature not above 225° F. Put the leather in the molten mixture and let it remain until saturated. The "zinc soap" is made by dissolving 6 parts of white soap in 16 parts of water, and stirring into the solution 6 parts of zinc sulphate. To make sure of a homogeneous mixture remelt the whole and stir until it begins to cool. The process, including the satu- ration of the leather, requires about 48 hours. Instead of zinc sulphate, copper or iron sulphate may be used. The phi- losophy of the process is that the mois- ture and air contained in the pores of the leather are driven out by the heat of the soap mixture, and their place is taken, on cooling, by the mixture. The surface of the leather is scraped after cooling, and the article is dried, either by heating over an open fire or by hanging in a drying room, strongly heated. II. — Prideaux' process consists in sub- mitting the leather to treatment with a solution of caoutchouc until it is thor- oughly saturated with the liquid. The latter consists of 30 parts of caoutchouc in 500 parts of oil of turpentine. Com- plete impregnation of the leather re- quires several days, during which the solution must be frequently applied to the surface of the leather and rubbed in. III. — Villon's process consists in ap- plying a, soap solution to the leather, about as follows: The leather is first treated to a solution of 62 parts of soap, 124 parts of glue, and 2,000 parts of water. When it has become saturated with the solution, it is treated to rubbing with a mixture of 460 parts of common salt and 400 parts of alum, in sufficient water to dissolve the same. After this it is washed with tepid water and dried. This process is much the quickest. The application of the soap requires about 2 hours, and the subsequent treat- ment about as much more, or 4 or 5 hours in all. Oilskins. — The art of painting over textile fabrics with oily preparations to make them waterproof is probably nearly as old as textile manufacture itself, an industry of prehistoric, nay, geologic, origin. It is certainly more ancient than the craft of the artistic painter in oils, whose canvases are nothing more nor less than art oilskins, and when out of their frames, have served the usual purpose of those things in protecting goods or the human body before now. The art of water- proofing has been extended beyond the domain of the oilskin by chemical processes, especially those in which alum or lead salts, or tannin, are used, as well as by the discovery of India rubber and gutta percha. These two have revolu- tionized the waterproofing industry in quite a special manner, and the oilskin manufacture, although it still exists and is in a fairly flourishing condition, has found its products to a very large extent replaced by rubber goods. The natural result has been that the processes used in the former industry have remained now unchanged for a good many years. They had already been brought to a very per- fect state when the rubber-waterproofing business sprang up, so that improve- ments were even then difficult to hit upon in oilskin making, and the check put upon the trade by India rubber made people less willing to spend time and money in experimenting with a view to improving what many years had already made it diflicult to better. Hence the three cardinal defects of the oilskin: its weight, its stiffness, and the liability of WATERPROOFING 751 its folds to stick together when it is wrapped up, or in the other extreme to crack, still remains. The weight, of course, is inevitable. An oilskin must be heavy, comparatively, from the very essence of the process by which it is made, but there seems no reason why it should not in time be made much more pliable (an old-time oilskin coat could often stand up on end when empty) and free from the danger of cracking or being compacted into a solid block when it has been stored folded on a shelf. Probably the best oilskins ever made are those prepared by combining Dr. Stenhouse's process (patented in 1864) with the ordinary method, which con- sists in the main of painting over the fabric with two or more coats of boiled linseed oil, allowing each coat to dry before the next is applied. This, with a few variations in cfetail, is the whole method of making oilskins. Dr. Sten- house's waterproofing method is to im- Eregnate the fabric with a mixture of ard paraffine and boiled oil in propor- tions varying according to circum- stances from 95 per cent of paraffine and 6 of oil to 70 per cent of the former and 30 of the latter. The most usual per- centages are 80 and 20. The mixture is made with the aid of heat, and is then cast into blocks for storage. It is ap- plied to the cloth stretched on a hot plate by rubbing the fabric thoroughly all over with a block of the composition, which may be applied on one or both sides as may be wished. The saturation is then made complete, and excess of composition is removed by passing the cloth between hot rollers. When the cloth is quite cold the process is com- plete. The paraffine and the drying oil combine their waterproofing powers, and the paraffine prevents the oil from ex- erting any injurious action upon the , material. Drying oil, partly on account of the metallic compounds in it, and partly on account of its absorbing oxygen from the atmosphere, has a decided slow weakening effect upon textile fibers. Dr. Stenhouse points out t^t the in- flammability of oilskins may be much lessened by the use of the ordinary fire- proofing salts, such as tunestate of soda, or alum, either before or after the water- proofing process is carried out. The following are some of the best recommended recipes for making oil- I. — Dissolve 1 ounce of yellow soap in IJ pints of boiling water. Then stir in 1 quart of boiled oil. When cold, add J pint of gold size. II. — Take fine twilled calico. Soak it in bullock's blood and dry it. Then give it 2 or 3 coats of boiled oil, mixed with a little litharge, or with an ounce of gold size to every pint of the oil. III.— Make ordinary paint ready to be applied thin with a strong solution of soap. IV. — Make 96 pounds of ocher to a thin paste with boiled oil, and then add 16 pounds of ordinary black paint mixed ready for use. Apply the first coat of this with soap, the subsequent coats without soap. V. — Dissolve rosin in hot boiled oil till it begins to thicken. VI. — Mix chalk or pipe clay in the finest powder, and in the purest state obtainable to a thin paste witn boiled oil. VII. — Melt together boiled oil, 1 pint; beeswax and rosin, each, 2 ounces. VIII. — -Dissolve soft soap in hot water and add solution of protosulphate of iron till no further precipitate is produced. Filter off, wash, and dry, and form the mass into a thin paste with boiled oil. . All these compositions are painted on with an ordinary painter's brush. The fabric should be slightly stretched, both to avoid folds and to facilitate the pene- tration of the waterproofing mixture. To aid the penetration still further, the mixture should be applied hot. It is of the greatest importance that the fabric shovdd not be damp when the composi- tion is applied to it. It is best to have it warm as well as the composition. If more than one coat is applied, which is practically always the case, three being the usual number, it is essential that the last coat' should be perfectly dry before the next is applied. Neglect of this precaution is the chief cause of sticki- ness, which frequently results in serious damage to the oilskins when they have to be unfolded. In fact, it is advisable to avoid folding an oilskin when it can be avoided. They should be hung up when not in use, whenever practicable, and be allowed plenty of room. It goes without saying ^hat no attempt should be made to sell or use the oilskin, whether garment or tarpaulin, until the final coat of composition is perfectly dry and set. It is unadvisable to use artificial heat in the drying at any stage in the manu- facture. Waterproofing Paper. — Any conven- ient and appropriate machinery or ap- paratus may be employed; but the best method for waterproofing paper is as follows; The treatment may be applied 752 WATERPROOFING while the pulp is being formed into paper, or the finished paper may be treated. _ If the material is to be treated while being formed into paper, then the better method is to begin the treatment when the _web of pulpy material leaves the Foudrinier wire or the cylinders, it then being in a damp condition, but with the larger per- centage of moisture removed. From this point the treatment of the paper is the same whether it be pulp in a sheet, as above stated, or finished paper. The treatment consists, first, in satu- rating the paper with glutinous material, preferably animal glue, and by preference the bath of glutinous material should be hot, to effect the more rapid absorption and more perfect permeation, impregna- tion, and deposit of the glutinous ma- terial within all the microscopic inter- stices throughout the body of the paper being treated. By preference a suitable tank is provided in which the glutin- ous material is deposited, and in which it may be kept heated to a constant temperature, the paper being passed through the tank and saturated during its passage. The material being treated should pass in a continuous sheet — that is, be fed from a roll and the finished product be wound in a roll after final treatment. This saves time and the patentee finds that the requisite permea- tion or incorporation of glutinous mat- ter in the fiber will with some papers — -for instance, lightly sized manila hemp — -require but a few seconds. As the paper passes from the glutin tank the surplus of the glutinous matter is removed from the surface by mechani- cal means, as contradistinguished from simply allowing it to pass off by gravity, and in most instances it is preferred to pass the paper between suitable pres- sure rolls to remove such surplus. The strength and consistency of the glutinous bath may be varied, depending upon the material being treated and the uses for which such material is designed. It may, however, be stated that, in a ma- jority of cases, a hot solution of about 1 part of animal glue to about 10 parts of water, by weight, gives the best results. After leaving the bath of glutinous ma- terial and having the surplus adhering to the surfaces removed, the paper be- fore drying is passed into or through a solution of formaldehyde and water to "set" the glutinous material. The strength of this solution may also be variable, depending, as heretofore stated, upon the paper and uses for which it is designed. In the majority of cases, however, a solution of 1 part of formalde- hyde (35 per cent solution) to 5 parts of water, by weight, gives good results, and the best result is attained if this bath is cold instead of hot, though any particu- lar temperature is not essentially neces- sary. The effect of the formaldehyde solution upon the glutin-saturated paper is to precipitate the glutinous matter and render it insoluble. As the material comes from the formal- dehyde bath, the surplus adhering to the surfaces is removed by mechanical means, pressure rolls being probably most convenient. The paper is then dried in any convenient manner. The best result in drying is attained by the air- blast, i. e., projecting blasts of air against both surfaces of the paper. This drying removes all the watery constituents and leaves the paper in a toughened or greatly strengthened condition, but not in practical condition for commercial uses, as it is brittle, horny, and stiff, and has an objectionable odor and taste on account of the presence of the alde- hydes, paraldehydes, formic acid, and other products, the result of oxidation. Hence it needs to be "tempered." Now while the glutinous material is rendered insoluble — that is, it is so acted upon by formaldehyde and the chemical action which takes place while the united solu- tions are giving off their watery constit- uents that it will not fully dissolve^ — it is, however, in a condition to be acted on by moisture, as it will swell and ab- sorb, or take up permanently by either chemical or mechanical action a per- centage of _ water, and will also become improved in many respects, so that to temper and render the paper soft and pliable and adapt it for most com- mercial uses it is subjected to moisture, which penetrates the paper, causing a welling in all directions, filling the interstices perfectly and resulting in "hydration"' throughout the entire cel- lular structure. Two actions, mechanical and chemical, appear to take place, the mechanical action being the temporary absorption of water analogous to the ab- sorption of water by a dry sponge, the chemical action being the permanent union of water with the treated paper, analogous to the union of water and tapioca, causing swelling, or like the chemical combination of water with lime or cement. For this purpose it is pre- ferred to pass the paper into a bath of hot water, saturated steam or equiva- lent _ heat-and-moisture medium, thus causing the fibers and the non-soluble ^ glutinous material filling the interstices i to expand in all directions and forcing WATERPROOFING— WAX 753 the glutinous material into all the mi- croscopic pores or openings and into the masses of fiber, causing a commingling or thorough incorporation of the fibers and the glutinous compound. At the same time, as heretofore indicated, a change (hydration) takes place, whereby the hardened mass of fiber, glutinous material, and formaldehyde become tempered and softened and the strength imparted by the previous treatment in- creased. To heighten the tempering and softening effect, glycerine may, in some instances, be introduced in the temper- ing bath, and in most cases one two- hundredths in volume of glycerine gives the best results. The paper may be dried in any con- venient manner and is in condition for most commercial uses, it being greatly strengthened, more flexible, more im- pervious to moisture, acids, grease, or alkalies, and is suitable for the manufac- ture of binding-twine, carpets, and many novelties, for dry wrappings and lining packing cases, etc., but is liable to have a disagreeable taste and may carry traces of acids, rendering it impracti- cable for some uses — for instance, wrap- ping butter, meats, cheese, etc., after receiving the alkali treatment. The paper is also valuable as a packing for joints in steam, water, and other pipes or connections. For the purpose, there- fore, of rendering the material absolutely free from all traces of acidity and all taste and odors and, in fact, to render it absolutely hygienic, it is passed through a bath of water and a volatile alkali (am- monium hydrate), the proportion by pref- erence in a majority of cases being one- hundredth of ammonium hydrate to ninety-nine one-hundredths of water by volume. A small percentage^ of wood alcohol may be added. This bath is preferably cool, but a. variation in its temperature will not interfere to a seri- ous extent with the results. The effect of this bath followed by drying is to com- plete the chemical reaction and destroy all taste or odor, removing all traces of acids and rendering the paper hy- gienic in all respects. The material may be calendered or cut and used for any of the purposes desired. If the material is to be subjected to the volatile alkali bath, it is not necessary to dry it be- tween the tempering and volatile alkali baths. The paper made in accordance with the foregoing will, it is claimed, be found to be greatly strengthened, some ma- terials being increased in strength from 100 to 700 per cent. It will be non- absorbent to acids, greases, and alkalies, and substantially waterproof, and owing to its component integrate structure will be practically non-conductive to elec- tricity, adapting it as a superior insu- lating material. It may with perfect safety be employed for wrapping butter, meats, spices, groceries, and all materials, whether unctuous or otherwise. The term "hydration" means the sub- jecting of the material (after treatment with glutinous material and formalde- hyde and drying) to moisture, whereby the action described takes place. A sheet or web of paper can be treated by the process as rapidly as it is manu- factured, as the time for exposure to the action of the glutinous material need not be longer than the time required for it to become saturated, this, of course, vary- ing with different thicknesses and densities, and the length of time of ex- posure may be fixed without checking the speed by making the tank of such length that the recjuisite time will elapse while the sheet is passing through it and the guides so arranged as to maintain the sheet in position to be acted on by such solution the requisite length of time. Four seconds' exposure to the action of formaldehyde is found sufficient in most cases. Waterproof Ropes. — For making ropes and lines impervious to weather, the process of tarring is recommended, which can be done either in the separate strands or after the rope is twisted. An addi- tion of tallow gives greater pliability. Waterproof Wood. — -I. — Soak in a mixture of boracic acid, 6 parts; ammo- nium chloride, 5 parts; sodium borate, 3 parts, and water, 100 parts. II. — Saturate in a solution of zinc chloride. Wax Adulteration of Wax. — Wax is adulter- ated with the following among other substances: Rosins, pitch, flowers of sul- phur, starch, fecula, stearine, paraffine, tallow, palm oil, calcined bones, yellow ocher, water, and wood sawdust. Rosins are detected by cold alcohol, which dissolves all rosinous substances and exercises no action on the wax. The rosins having been extracted from the alcoholic solution by the evaporation of the alcohol, the various kinds may be distinguished by the odors disengaged by burning the mass several times on a plate of heated iron. AH earthy substances may be readily WAX rated frcm Wax by means of oil of _^^Entine, which dissolves the wax, while the earthy matters form a residue. Oil of turpentine also completely sepa- rates wax from starchy substances, which, like earthy matters, do not dissolve, but form a residue. A simpler method consists in heating the wax with boiling water; the gelatinous consistency assumed by the water, and the blue coloration in presence of iodine, indicate that the wax contains starchy substances. Adultera- tion by means of starch and fecula is quite frequent. These substances are sometimes added to the wax in a pro- portion of nearly 60 per cent. To sepa- rate either, the suspected product is treated hot with very dilute sulphuric acid (2 parts of acid per 100 parts of water). All amylaceous substances, con- verted into dextrin, remain dissolved in the liquid, while the wax, in cooling, forms a crust on the surface. It is taken off and weighed; the difference between its weight and that of the product analyzed will give the quantity of the amylaceous substances. Flowers of sulphur are recognized readily from the odor of sulphurous acid during combustion on red-hot iron. Tallow may be detected by the taste and odor. Pure wax has an aromatic, agreeable taste, while that mixed with tallow is repulsive both in taste and smell. Pure wax, worked between the fingers, grows soft, preserving a certain cohesion in all parts. It divides into lumps, which adhere to the fingers, if it is mixed with tallow. The adulteration may also be detected by the thick and nauseating fumes produced when it is burned on heated iron. Stearic acid may be recognized by means of boiling alcohol, which dissolves it in nearly all proportions and causes it to deposit crystals on cooling, while it is without action on the wax. Blue litmus paper, immersed in alcohol solution, reddens on drying in air, and thus serves for detecting the presence of stearic acid. Ocher is found by treating the wax with boiling water. A lemon-yellow deposit results, which, taken up with chlorhydric acid, fields with ammonia a lemon-yellow precipitate of ferric oxide. The powder of burnt bones separates and forms a residue, when the wax is heated with oil of turpentine. Artificial Beeswax. — This is obtained by mixing the following substances, in ap- proximately the proportions stated: Paraf- fine, 45 parts, by weight; white Japan Vegetable wax, 30 parts, by weight; rosms, or colophonies, 10 parts, by weight; white Citch, 10 parts, by weight; tallow, 5 parts, y weight; ceresine, colorant, 0.030 parts, by weight; wax perfume, 0.100 parts, by weight. If desired, the parafBne may be replaced with ozokerite, or by a mixture of vaseline and ozokerite, for the purpose of varying the fusing temperature, or rendering it more advantageous for the various applications designed. The fol- lowing is the method of preparation: Melt on the boiling water bath, shaking constantly, the parafRne, the Japan wax, the rosins, the pitch, and the tallow. When the fusion is complete, add the colorant and the perfume. When these products are perfectly mingled, remove from the fire, allow the mixture to cool, and run it into suitable molds. The wax thus obtained may be employed specially for encaustics for furniture and floors, or for purposes where varnish is employed. Waxes for Floors, Furniture, etc. — I. — White beeswax 16 parts Colophony 4 parts Venice turpentine . . 1 pal-t Melt the articles together over a gentle fire, and when completely? melted and homogeneous, pour into a sizable earthen- ware vessel, and stir in, while still warm, 6 parts of the best French turpentine. Cool for 24 hours, by which time the mass has acquired the consistence of soft butter, and is ready for use. Its method of use is very simple. It is smeared, in small quantities, on woolen cloths, and with these is rubbed into the wood. This is the best preparation, but one in which the beeswax is merely dissolved in the turpentine in such a way as to have the consistence of a not too thin oil color, will answer. The wood is treated with this, taking care that the surface is evenly covered with the mixture, and that it does not sink too deeply in the orna- ments, corners, etc., of the woodwork. This is best achieved by taking care to scrape off from the cloths all excess of the wax. If, in the course of 24 hours, the sur- face is hard, then with a stiff brush go over it, much after the way of polishing a boot. For the corners and angles smaller brushes are used; when necessary, stiff pencils may be employed. Finally, the whole is polished with plush, or velvet rags, in order not to injure the orig- inal^ polish. _ Give the article a good coat of linseed oil or a washing with petro- leum before beginning work. n. — Articles that are always exposed to the water, floors, doors, especially of oak, should, from time to time, be satu- WAX 755 rated with oil or wax. A house door, plentifully decorated with wood carving, will not shrink or warp, even where the sun shines hottest on it, when it is fre- quently treated to saturation with wax and oil. Here a plain dosage with lin- seed oil is sufficient. Varnish, without the addition of turpentine, should never be used, or if used it should be followed by a coat of wax. III. — A good floor wax is comppsed of 2 parts of wax and 3 parts of Venice turpentine, melted on the water bath, and the mixture applied while still hot, using a pencil, or brush, for the application, and when it has become solid and dry, diligently rubbed, or polished down with a woolen cloth, or with a floor brush, especially made for the purpose. IV.— An emulsion of S parts of yellow wax, 2 parts of crude potassium carbon- ate, and 12 parts of water, boiled to- gether until tney assume a milky color and the solids are dissolved, used cold, makes an excellent composition for floors. Any desirfed color may be given this dressing by stirring in the powdered col- oring matter. Use it exactly as de- scribed for the first mass. Gilders' Wax. — For the production of various colorings of gold in fire gilding, the respective places are frequently covered with so-called gilders' wax. These consist of mixtures of various chemicals which have an etching action in the red heat upon the bronze mass, thus causing roughness of unequal depth, as well as through the fact that the com- position of the bronze is changed some- what on the surface, a relief of the gold color being effected in consequence of these two circumstances. The gilding wax is prepared by melting together the finely powdered chemicals with wax ac- cording to the following recipes: I II III IV V Yellow wax 32 32 32 96 36 Red chalk. 3 24 18 48 18 Verdigris 2 4 18 32 18 Burnt alum 2 4 — — — Burnt borax — — 2 13 Copper ash — 4 6 20 8 Zinc vitriol — — — 32 18 Green vitriol — — — 1 6 Grafting Wax. — I. — Beeswax 7 parts Purified rosin 12 parts Turpentine 3 parts Rape oil 1 part Venice turpentine 2.5 parts Zinc white 2.5 parts Color yellow with turmeiac. II. — Japan wax 1 part Yellow wax 8 parts Rosin 8 parts Turpentine 4 parts Hard paraffine 1 part Suet 3 parts Venice turpentine. ... 6 parts Harness Wax. — Oil of turpentine 90 parts Wax, yellow 9 parts Prussian blue 1 part Indigo 0.5 parts Bone black 6 parts Dissolve the wax in the oil by aid of a low heat, on a water bath. Mix the re- maining ingredients, which must be well powdered, and work up with a portion of the solution of wax. Finally, add the mixture to the solution, and mix thor- oughly on the bath. When a homogene- ous liquid is obtained, pour into earthen boxes. Modeling Wax. — I. — Yellow wax, 1,000 parts; Venice turpentine, 130 parts; lard, 65 parts; bole, 725 parts. The mixture when still liquid is poured into tejpid water and kneaded until a plastic mass is obtained. II. — Summer Modeling Wax. — White wax, 20 parts; ordinary turpentine, 4 parts; sesame oil, 1 part; vermilion, 2 parts. III. — Winter Modeling Wax. — ^White wax, 20 parts; ordinary turpentine, 6 parts; sesame oil, 2 parts; vermilion, 2 parts. Preparation same as for Formula I. Sealing Waxes. — The following for- mulas may be followed for making seal- ing wax: Take 4 pounds of shellac, 1 pound of Venice turpentine, and 3 pounds of vermilion. Melt the lac in a copper pan suspended over a clear charcoal fire, then add the turpentine slowly to it, and soon afterwards add the vermilion, stir- ring briskly all the time with a rod in either hand. In forming the round sticks of sealing wax, a certain portion of the mass should be weighed while it is duc- tile, divided into the desired number of pieces, and then rolled out upon a warm marble slab by means of a smooth wooden block like that used by apothecaries for rolling a mass of pUls. The oval and Square sticks of sealing wax are cast in molds, with the above compound, in a state of fusion. The marks of the lines of junction of the mold box may be afterwards removed by holding the sticks over a clear fire, or passing them over a blue gas flame. Marbled sealing wax is made by mixing 756 WAX— WEATHER FORECASTERS twp, three, or more colored kinds to- gether while they are in a semi-fluid state. From the viscidity of the several portions their incorporation is left in- complete, so as to produce the appearance of marbling. Gold sealing wax is made simply by adding gold chrome instead of vermilion into the melted rosins. Wax may be scented by introducing a little essential oil, essence of musk, or other perfume. If 1 part of balsam of Peru be melted along with 99 parts of the seal- ing-wax composition, an agreeable fra- grance will be exhaled in the act of sealing with it. Either lampblack or ivory black serves for the coloring matter of black wax. Sealing wax is often adulterated with rosin, in which case it runs into thin drops at the flame of a candle. The following mistakes are some- times made in the manufacture of sealing wax: I. — Use of filling agents which are too coarsely ground. II. — Excessive use of filling agents. III. — Insufficient binding of the pig- ments and fillings with a suitable ad- hesive agent, which causes these bodies to absorb the adhesive power of the gums. IV. — Excessive heating of the mass, caused by improper melting or faulty admixture of the gummy bodies. Tur- pentine and rosin must be heated before entering the shellac. If this rule is in- verted, as is often the case, the shellac sticks to the bottom and burns partly. Great care must be taken to mix the coloring matter to a paste with spirit or oil of turpentine before adding to the other ingredients. Unless this is done the wax will not be of a regular tint. Dark Blue Wax. — Three ounces Vene- tian turpentine, 4 ounces shellac, 1 ounce rosin, 1 ounce Prussian blue, J ounce magnesia. Green Wax. — Two ounces Venetian turpentine, 4 ounces shellac, IJ ounces rosin, J ounce chrome yellow, J ounce Prussian blue, 1 ounce magnesia. _ Carmine Red Wax. — One ounce Vene- tian turpentine, 4 ounces shellac, 1 ounce rosin, colophony, IJ ounces Chinese red, 1 drachm magnesia, with oil of turpen- tine. Gold Wax. — Four ounces Venetian turpentine, 8 ounces shellac, 14 sheets of genuine leaf gold, J ounce bronze, J ounce magnesia, with oil of turpentine. White Wax.— I.— The wax is bleached by exposing to moist air and to the sun. but it must first be prepared in thin sheets or ribbons or in grains. For this purpose it is first washed, to free it from the honey which may adhere, melted, and poured into a tin vessel, whose bot- tom is perforated with narrow slits. The melted wax falls in a thin stream on a wooden cylinder arranged below and half immersed in cold water. This cylinder is turned, and the wax, rolling round in thin leaves, afterwards falls in- to the water. To melt it in grains, a vessel is made use of, perforated with small openings, which can be rotated. The wax is projected in grains into the cold water. It is spread on frames of muslin, moistened with water several times a day, and exposed to the sun until the wax assumes a fine white. This whiteness, however, is not perfect. The operation of melting and separating into ribbons or grains must be renewed. Finally, it is melted and flowed into molds. The duration of the bleaching may be abridged by adding to the wax, treated as above, from 1.25 to 1.75 per cent of rectified oil of turpentine, free from rosin. In 6 or 8 days a result will be secured which would otherwise re- quire 5 or 6 weeks. II. — Bleached shellac 28 parts Venetian turpentine. . 13 parts Plaster of Paris 30 parts WAX FOR BOTTLES: See Photography. WAX, BURNING, TRICK: See Pyrotechnics. WAXES, DECOIilPOSITION OF: See Oil. WAX FOR IRONING: See Laundry Preparations. WAX FOR LINOLEUM: See Linoleum. Weather Forecasters (See also Hygrometers and Hygroscopes.) I. — It is known that a leaf of blotting paper or a strip of fabric made to change color according to the hygrometric state of the atmosphere has been employed for weather indications in place of a barometer. The following compound is recommended for this purpose: One part of cobalt chloride, 75 parts of nickel oxide, 20 parts of gelatin, and 200 parts of water. A strip of calico, soaked in this solution, will appear green in fine weather, but when moisture intervenes the color disappears. WEATHER FORECASTERS 757 II- — Copper chloride .... 1 part Gelatin 10 parts Water 100 parts III. — This is a method of making old- fashioned weather glasses containing » liquid that clouds or solidifies under certain atmospheric conditions: Camphor aj drachms Alcohol 11 drachms Water 9 drachms Saltpeter 38 grains Sal ammoniac. .. . 38 grains Dissolve the camphor in the alcohol and the salts in the water and mix the solutions together. Pour in test tubes, cover with wax after corking and make a hole through the cork with a red-hot needle, or draw out the tube until only a pin hole remains. When the camphor, etc., appear soft and powdery, and almost filling the tube, rain with south or southwest winds may be expected; when crystalline, north, northeast, or north- west winds, with fine weather, may be expected; when a portion crystallizes on one side of the tube, wind may be expected from that direction. Fine weather: The slibstance remains entirely at bottom of tube and the liquid per- fectly clear. Coming rain: Substance will rise gradually, liquid will be very clear, with a, small star in motion. A coming storm or very high wind: Sub- stance partly at top of tube, and of a leaflike form, liquid very heavy and in a fermenting state. These effects are noticeable S4 hours before the change sets in. In winter: Generally the substance lies higher in the tube. Snow or white frost: Substande very white and small stars in motion. Summer weather: The substance will lie quite low. The sub- stance will lie closer to the tube on the opposite side to the quarter from which the storm is coming. The instrument is nothing more than a scientific toy. WEATHERPROOFIWG : See Paints. WEED KILLERS: See Disinfectants. Weights and Measures INTERNATIONAL ATOMIC WEIGHTS. The International Committee on Atomic Weights have presented this table as corrected: Aluminum Al Antimony Sb Argon A 0-16 27.1 120.2 H-1 26.9 119.3 39.6 Arsenic , As Barium Ba Bismuth Bi Boron B Bromine Br Cadmium Cd Csesium Cs Calcium Ca Carbon C Cerium Ce Chlorine CI Chromium Cr Cobalt Co Columbium.. . . Cb Copper Cu Erbium Er Fluorine F Gadolinium.. . . Gd Gallium Ga Germanium. . . . Ge Glucinum Gl Gold Au Helium He Hydrogen H Indium In Iodine I Iridium Ir Iron Fe Krypton Kr Lanthanum. . . . La Lead Pb Lithium Li Magnesium . .. . Mg Manganese .... Mn Mercury Hg Molybdenum . . Mo Neodymium.. . . Nd Neon Ne Nickel Ni Nitrogen N Osmium Os Oxygen O Palladium Pd Phosphorus . . . . P Platinum Pt Potassium K Praseodymium. Pr Radium Ra Rhodium; Rh Rubidium Rb Ruthenium .... Ru Samarium Sm Scandium Sc Selenium Se Silicon Si Silver Ag Sodium Na Strontium Sr Sulphur S Tantalum Ta Tellurium Te Terbium Tb Thallium Tl 0-16 H-1 76 74.4 137.4 136.4 208.5 206.9 U 10.9 79.96 79.36 112.4 111.6 132.9 131.9 40.1 39.7 12 11.91 140.25 139.2 35.45 36.18 62.1 51.7 69 58.66 94 93.3 63.6 63.1 166 164.8 19 18.9 156 154.8 70 69.5 72.5 72 9.1 9.03 197.2 195.7 4 4 l.OOS 1 115 114.1 126.97 126.01 193 191.6 55.9 55.5 81.8 81.2 138.9 137.9 206.9 205.35 7.03 6.98 24.36 24.18 55 54.6 200 198.5 96 95.3 143,6 142.5 20 19.9 68.7 58.3 14.04 13.93 191 189.6 16 15.88 106.6 105.7 31 30.77 194.8 193.3 39.15 38.85 140.6 139.4 225 223.3 103 102.2 85.5 84.9 101.7 100.9 150.3 149,2 44.1 43.8 79.2 78.6 28.4 28.2 107.93 107.11 23.06 22.88 87.6 86.94 32 . 06 31.82 183 181.6 127.6 126.6 160 158.8 204.1 202.6 758 WEIGHTS AND MEASURES INTERNATIONAL ATOMIC WEIGHTS— Continued. Thorium Th Thulium Tm Tin Sn Titanium Ti Tungsten W Uranium U 0-16 H=l 232.5 230.8 171 169.7 119 118.1 48.1 47.7 184 182.6 238,5 236.7 Vanadium V Xenon Xe Ytterbium Yb Yttrium Yt Zinc Zn Zirconium Zr = 16 H=l 51.2 50.8 128 127 173 171.7 89 88.3 65.4 64.9 90.6 89.9 UNITED STATES WEIGHTS AND MEASURES (According to existing standards) 12 inches = 1 foot. 3 feet = 1 yard. 5.5 yards = 1 rod. 40 rods=l furlong. 8 furlongs = 1 mile. 144 sq. inches =1 square foot. 9 square feet= 1 square yard. 30.25 square yards= 1 square rod. 40 square rods = 1 square rood. 4 square roods = 1 acre. 640 acres == 1 square mile. LINEAL leches. Feet. Yards. Rods. Fur's. Mile. 12= 1 36= 3 = 1 198= 16.5= 5.5= 1 7,920= 660 = 220 = 40 = 1 63,360= 5,280 = 1,760 -320 = 8 = 1 SURFACE— LAND Feet. 9 272.25 = 10,890- 43,560= Yards. 1 30.25 = 1,210 = 4,840- Rods. Roods. Acres. 1 40 = 160- 1 4= 27,878,400 = 3,097,600 = 102,400 = 2,560 = 640 4 gills < 2 pints ' 4 quarts- Gallon. Pints. 1 = 8 = 1 = VOLUME— LIQUID = 1 pint. I Gills. Pints. Gallon. Cub. In. -1 quart. 32 = 8 = 1 = 231 = 1 gallon. I FLUID MEASURE Ounces. Drachms. Minims. 128 = 1,024 - 61,440 16 = 128 = 7,680 1 = 8 = 480 1 = 60 Cubic Centimeters, = 3,785.435 473.179 = 29.574 3.697 16 ounces, or a pint, is sometimes called a fluidpound. TROY WEIGHT Pound. Ounces. Pennyweights. Grains. 1 = 12 ^ = 240 = 5,760 1 = 20 = 480 1 = 24 APOTHECARIES' WEIGHT 5 3 3 Ounces. Drachms. Scruples. = 12 = 96 = 288 = 1 = 8 - 24 = 1 - 3 = 1 = Grams. 373.24 31.10 1.56 !b. Pound, 1 Grams. 5,760 480 60 20 1 Grams. 373.24 31.10 3.89 1.30 .06 The pound, ounce, and grain are the same as in Troy weight. AVOIRDUPOIS WEIGHT Pound. Ounces. Drachms. Grains (Troy) Grams. 1 = 16 = 256 = 7,000 - 453.60 1 = 16 = 437.5 = 28.35 1 = 27.34 = 1.77 ENGLISH WEIGHTS AND MEASURES APOTHECARIES' WEIGHT 20 grains = 1 scruple = 20 grains 3 scruples = 1 drachm = 60 grains 8 dracnms = 1 ounce = 480 grains 12 ounces = 1 pound = 5,760 grains FLUID MEASURE 60 minims = 1 fluidrachm 8 drachms = 1 fluidounce 20 ounces = 1 pint 8 pints = 1 gallon The above weights are usually adopted in formulas. All chemicals are usually sold by AVOIRDUPOIS WEIGHT 2755 grains —1 drachm = 27 J} grains 16 drachms=l ounce = 437| grains 16 ounces = 1 pound =7,000 grains Precious metals are usually sold by TROY WEIGHT 24 grains = 1 pennyweight = 24 grains 20 pennyweights = 1 ounce = 480 grains 1 2 ounces = 1 pound = 5,760 grains Note. — An ounce of metallic silver contains 480 grains, but an ounce of nitrate of silver con- tains only 4375 grains. WEIGHTS AND MEASURES 759 METRIC SYSTEM OF WEIGHTS AND MEASURES MEASURES OF LENGTH Denomikations and Values. Equivalents in Use. Myriameter 10,000 meters 1,000 meters 100 meters 10 meters 1 meter ■ • 1-lOth of a meter 1-lOOth of ameter 1-1 ,000th of ameter 6.2137 miles .62137 miles, or 3,280 teet,10inches 328 feet and 1 inch 393.7 inches 39.37 inches 3.937 inches .3937 inches .0394 inches Dekameter Meter Centimeter Millimeter MEASURES OF SURFACE Denominations and Valttes. Equivalents in Use. Hectare , . 10,000 square meters 100 square meters 1 square meter 2.471 acres 119.6 square yards 1 ,550 square inches Are MEASURES OF VOLUME Denominations and Values. ^ Equivalents in Use. Names. No. OP LiTEBS. Cubic Measures. - Dhy Measure. Wine Measure. Kiloliter or stere . Hectoliter DekaJiter Liter 1,000 100 10 1 1-10 1-100 1-1,000 1 cubic meter 1-lOth cubic meter 10 cubic decimeters 1 cubic decimeter 1-lOth cubic decimeter 10 cubic centimeters 1 cubic centimeter 1.308 cubic yards 2 bushels and 3.35 pecks 9.08 quarts .908 quarts 6.1023 cubic inches .6102 cubic inches .061 cubic inches 264.17 gallons 26.417 gaUons 2.6417 gallons 1.0567 quarts .845 gills .338 Huidounces .27 fluidrachms Deciliter Centiliter Milliliter WEIGHTS Denominations and Values. Equivalents in Use. Names. Number of Grams. Weight of Volume of Water AT ITS Maximum Density. Avoirdupois Weight. 1,000,000 100,000 10,000 1,000 100 10 1 1-10 1-100 1-1,000 ■ 1 cubic meter 1 hectoliter 10 liters 1 liter 1 deciliter 10 cubic centimeters 1 cubic centimeter 1-lOth of a cubic centimeter 10 cubic millimeters 1 cubic millimeter 2,20^.6 pounds 220.46 pounds 22.046 pounds 2.2046 pounds Quintal Kilogram or Kilo .3527 ounces .1543 grains F(yr Tneasuring surfaces, the square dekameter ia used under the term of ARE ; the hectare, or 100 ares, is equal to about 2 J acres. The unit of capacity is the cubic decimeter or LITER, and the series of measures is formed in the same way as in the case of the table of lengths. The cubic meter is the unit of measure for solid bodies, and is termed STERE. The unit of weight is the GRAli, which is the weight of one cubic centimeter of pure water weighed in a vacuum at the temperature of 4° C. or 39.2° F., which is about its temperature of maximum density. In practice, the term cubic centimeter, abbreviated cc.t is g^eijerftUy uafed instead of milliliter, Aoa cubic meter loatieaci of kiloliter. 760 WEIGHTS AND MEASURES THE CONVERSION OF METRIC INTO ENGLISH WEIGHT The following table, which contains no error greater than one-tenth of a grain, will sufSce for most practical purposes: 1 gram — 15| grains 2 grams— 30| grains 3 grams — 46J grains 4 grams = 61t grains, or 1 drachm, IJ grains 5 grams = 77i grains, or 1 drachm, 17J grains 6 grams = 92| grains, or 1 drachm, 32| grains 7 grams = 108 grains, or 1 drachm, 48 grains 8 grams-= 123| grains, or 2 draclmis, 3| grains 9grams= 138# grains, or 2 drachms, 18S grains 10 grams = 154| grains, or 2 dracluns, 341 grains llgrams= 169J grains, or 2 drachms, 49| grains 12 grams= 185i grains, or 3 drachms, 5J grains 13grams= 200f grains, or 3 drachms, 20| grains 14grams= 216 grains, or 3 drachms, 36 grains 15grams= 23 If grains, or 3 drachms, 51| grains 16grams= 247 grains, or 4 drachms, 7 grains 17grams= 262? grains, or 4 drachms, 22| grains 18 grams = 277j grains, or 4 drachmis, 371 grains 19 grams— 293J grains, or 4 drachms, 53i grains 20 grams= 308J grainy, or 5 drachms, 81 grains 30 grams= 463 grains, or 7 drachms, 43 grains 40 grams = 617e grains, or 10 drachms, 17J grains 50 grams= 7711 grains, or 12 drachms, 51g grains 60 grams = 926 grains, or 15 drachms, 26 grains 70 grams = 1 ,080i grains, or 18 drachms, OJ grains 80 grams= 1 ,234^ grains, or 20 drachms, 341 grains 90 grams= 1,389 grains, or 23 drachms, 9 grains 100 grams= 1,543^ grains, or 25 drachms, 43^ grains 1,000 grams = 1 kilogram- 32 ounces, 1 drachm, 12| grains THE CONVERSION OF METRIC INTO ENGLISH MEASURE 1 cubic centimeter = 17 minims 2 cubic centimeters = 34 minims 3 cubic centimeters= 51 minims 4 cubic centimeters= 68 minims, or 1 drachm, 8 m nims 5 cubic centimeters = 85 minims, or 1 drachm, 25 minims 6 cubic centim.eters= 101 minims, or 1 drachm, 41 minims 7 cubic cen time ters= 118 minims, or 1 drachm, 58 minims 8 cubic centimeters^ 135 minims, or 2 drachms, 15 minims 9 cubic centimeters= 152 minims, or 2 drachms, 32 minims 10 cubic centimeters = 169 minims, or 2 drachms, 49 minims 20 cubic centimeters= 338 minims, or 5 drachms, 38 minims 30 cubic centimeters = 507 minims, or 1 ounce, drachm, 27mimms 40 cubic centimeters= 676 minims, or 1 ounce, 3 drachms, 16 minims 50 cubic centimeters = 845 minims, or 1 ounce, 6 drachms, 5 minima 60 cubic centimeters= 1,014 minims, or 2 oimces, drachms, 54 minims 70 cubic centimeter3= 1,183 minims, or 2 ounces, 3 drachms, 43 minims 80 cubic centimeters= 1 ,352 minims, or 2 ounces, 6 drachms, 32 minims 90 cubic centimeters™ 1,521 minims, or 3 ounces, 1 drachm, 21 minims 100 cubic centimeters= 1 ,690 minims, or 3 ounces, 4 drachms, 10 minims 1 ,000 cubic centimeters = 1 liter = 34 fluidounces nearly, or 2 J pints. WELDING POWDERS— WHITEWASH 761 WELDING POWDERS. See also Steel. Powder to Weld Wrought Iron at Pale- red Heat with Wrought Iron. — I. — Borax, 1 part (by weight); sal ammoniac, J part; water, J part. These ingredients are boiled with constant stirring until the mass is stiff; then it is allowed to harden over the fire. Upon cooling, the mass is rubbed up into a powder and mixed with one-third wrought-iron filings free from rust. When the iron has reached red heat, this powder is sprinkled on the {)arts to be welded, and after it has iquefied, a few blows are sufficient to unite the pieces. II. — Borax, 2 parts; wrought-iron filings, free from rust, 2 parts; sal am- moniac, 1 part. These pulverized parts are moistened with copaiba balsam and made into a paste, then slowly dried over a fire and again powdered. The applica- tion is the same as for Formula I. Welding Powder to Weld Steel on Wrought Iron at Pale -red Heat. — Borax, 3 parts; potassium cyanide, 2 parts; Berlin blue, 1-100 part. These substances are powdered well, moistened with water; next they are boiled with constant stirring until stiff; then dry over a fire. Upon cooling, the mass is finely pulverized and mixed with 1 part of wrought-iron filings, free from rust. This powder is sprinkled repeatedly upon the hot pieces, and after it nas burned in the welding is taken in hand. WHEEL GREASE: See Lubricants. WHETSTONES. To make artificial whetstones, take gelatin of good quality, dissolve it in equal weight of water, operating in almost complete darkness, and add IJ per cent of bichromate of potash, pre- viously dissolved. Next take about 9 times the weight of the gelatin employed of very fine emery or fine powdered gun stone, which is mixed intimately with the gelatinized solution. The paste thus ob- tained is molded into the desired shape, taking care to exercise _ an energetic pressure in order to consolidate the mass. Finally dry by exposure to the sun. WHITING: To Form Masses of Whiting. — Mix the whiting into a stiff paste with water, and the mass will retain its coherence when dry. Whitewash (See also Paint.) Wash the ceiling by wetting it twice with water, laying on as much as can well be floated on, then/ rub the old color up with a, stumpy brush and wipe ofi^ with a large sponge. Stop all cracks with whiting and plaster of Paris. When dry, claricole with size and a little of the T/hitewash when this is dry. If very much stained, paint those parts with turps, color, and, if necessary, claricole again. To make the whitewash, take a dozen pounds of whiting (in large balls), break them up in a pail, and cover with water to soak. During this time melt over a slow fire 4 pounds common size, and at the same time, with a palette knife or small trowel, rub up fine aoout a dessertspoonful of blue-black with water to a fine paste; then pour the water off the top of the whiting and with a stick stir in the black; when well mixed, stir in the melted size and strain. When cold, it is fit for use. If the jelly is too stiff for use, beat it up well and add a little cold water. Commence whitewashing over the window and so work from the light. Distemper color of any tint may be made by using any other color instead of the blue-black— ^as ocher, chrome, Dutch pink, raw sienna for yellows and buff; Venetian red, burnt sienna, Indian red or purple brown for reds; celestial blue, ultramarine, indigo for blues; red and blue for purple, gray or lavender; red lead and chrome for orange; Brunswick green for greens. Ox blood in lime paint is an excellent binding agent for the lime, as it is chief- ly composed of albumin, which, like casein or milk, is capable of transform- ing the lime into casein paint. But the ox blood must be mixed in the lime paint; to use it separately is useless, if not harm- ful. Whitewashing rough mortar-plas- tering to saturation is very practical, as it closes all the pores and small holes. A formula used by the United States Government in making whitewash for light-houses and other public buildings is as follows: Unslaked lime 2 pecks Common salt 1 peck Rice flour 3 pounds Spanish whiting J pound Grlue (clean and white) 1 pound Water, a sufficient quantity. Slake the lime in a vessel of about 10 gallons capacity; cover it, strain, and add 762 WHITEWASH— WINES AND LIQUORS Ihe salt previously dissolved in warm water. Boil the rice flour in water; soak the glue in water and dissolve on a water bathj and add both, together with the whiting and 5 gallons of hot water to the mixture, stirring all well together. Cover to protect from dirt, and let it stand for a few days, when it will be ready for use. It is to be applied hot, and for that reason should be used from a kettle over a portable furnace. To Soften Old Whitewash.— Wet the whitewash thoroughly with a wash made of 1 pound of potash dissolved in 10 quarts of water. WHITEWASH, TO REMOVE: See Cleaning Preparations and Meth- ods. WHITE METAL: See Alloys. WINDOW-CLEANING COMPOUND: See Cleaning Compounds. WINDOW DISPLAY: See also Sponges. An attractive window display for stores can be prepared as follows: In a wide-mouth jar j)ut some sand, say, about 6 inches in depth. Make a mixture of equal parts of aluminum sul- phate, copper smphate, and iron sul- phate, coarsely powdered, and strew it over the surface of the sand. Over this layer gently pour a solution of sodium silicate, dissolved in 3 parts of hot water, taking care not to disturb the layer of sulphates. In about a week or 10 days the surface will be covered with crystals of different colors, being silicates of different metals employed. Now take some pure water and let it run into the vessel by a small tube, using a little more of it than you used of the wat^r-glass solution. This will displace the water- glass solution, and a fresh crop of crystals will come in the silicates, and makes, when proi)erly done, a pretty scene. Take care in pouring in the Water to let the point of the tube be so arranged as not to disturb the crop of silicates. WINDOW PERFUME. In Paris an apparatus has been intro- duced consisting of a small tube which is attached lengthwise on the exterior of the shop windows. Through numerous little holes a warm, lightly perfumed current of air is passed, which pleasantly tickles the olfactory nerves of the looker- on and at the same time keeps the panes clear and clean, so that the goods exhib- ited present the best possible appearance. WINDOW POLISHES: See Polishes. WINDOWS, FROSTED: See Glass. WINDOWS, TO PREVENT DIMMING OF: See Glass. Wines and Liquors BITTERS. Bitters, as the name indicates, are merely tinctures of bitter roots and barks, with the addition of spices to flavor, and depend for their effect upon their tonic action on the stomach. Taken too frequently, however, they may do harm, by overstimulating the digestive organs. The recipes for some of these prepara- tions run to great lengths, one for An- gostura bitters containing jio fewer than 28 ingredients. A very good article, how- ever, may be made without all this elabo- ration. The following, for instance, make a very good preparation: Gentian root (sliced).. 12 ounces Cinnamon bark. ..,, . 10 ounces Caraway seeds 10 ounces Juniper berries 2 ounces Cloves 1 ounce Alcohol, 90 per cent . . 7 pints Macerate for a week; strain, press out, and filter, then add Capillaire 1 J pints Water to make up. ... 2 j gallons Strength about 45 u. p. Still another formula calls for Angostura bark, 2| ounces; gentian root, 1 ounce; cardamom seeds, J ounce; Turkey rhubarb, J ounce ; orange peel, 4 ounces ; caraways, j ounce; cinnamon bark, J ounce; cloves, i ounce. Brandy Bitters.^ Sliced gentian root ... 3 pounds Dried orange peel 2 pounds Cardamom seed 1 pound Bruised cinnamon J pound Cochineal 2 ounces Brandy 10 pints Macerate for 14 days and strain. Hostetter's Bitters. — Calamus root 1 pound Orange peel 1 pound Peruyian bark 1 pound Gentian root 1 pound WINES AND LIQUORS 763 Calumba root 1 pound Rhubarb root 4 ounces Cinnamon bark 2 ounces Cloves. 1 ounce Diluted alcohol 2 gallons Water 1 gallon Sugar 1 pound Macerate together for 2 weeks. CORDIALS. Cordials, according to the Spatula, are flavored liquors containing from 40 to 50 per cent of alcohol (from 52 to 64 fluidounces to each gallon) and from 20 to 25 per cent of sugar (from 25 to 32 ounces avoirdupois to each gallon). Cordials, while used in this country to some degree, have their greatest con- sumption in foreign lands, especially in France and Germany. Usually such mixtures as these are clarified or "fined" only with consider- able_ difficulty, as the finally divided particles of oil pass easily through the pores of the filter paper. Purified talcum will be found to be an excellent clarifying medium; it should be agitated with the liquid and the liquid then passed through a thoroughly wetted filter. The filtrate should be returned again and again to the filter until it filters perfectly oright. Purified talcum being chemically inert is superior to magnesium carbonate and other substances which are recom- mended for this purpose. When the filtering process is com- pleted the liquids should at once be put into suitable bottles which should be filled and tightly corked and sealed. Wrap the bottles in paper and store away, laying the bottles on their sides in a moderately warm place. A shelf near the ceiling is a good place. Warmth and age improve the beverages, as it appears to more perfectly blend the flavors, so that the older the liquor becomes the better it is. These liquids must never be kept in a cold place, as the cold might cause the volatile oils to separate. The following formulas are for the production of cordials of the best quality, and therefore only the very best of materials should be used; the essential oils should be of unquestionable quality and strictly fresh, while the alcohol must be free from fusel oil, the water distilled, and the sugar white, free from bluing, and if liquors of any kind should be called for in any formula only the very best should be used. The oils and other flavoring substances should be dissolved in the alcohol and the sugar in the water. Then mix the two solutions and filter clear. Alkermes Cordial. — Mace IJ avoirdupois ounces Ceylon cinnamon 1 j avoirdupois ounces Cloves. .1 I avoirdupois ounce Rose water (best) 6 fluidounces Sugar. ._ 28 avoirdupois ounces Deodorized al- cohol 52 fluidounces Distilled water, q- s 1 gallon Reduce the mace, cinnamon, and cloves to a coarse powder, macerate with the alcohol for several days, agitating occasionally, then add the remaining ingredients, and filter clear. Anise Cordial. — Anethol 7 fluidrachms Oil of fennel seed. . 80 minims Oil of bitter almonds 16 drops Deodorized alcohol 8 pints Simple syrup 5 pints Distilled water, q. a. 16 pints Mix the oils and anethol with the alcohol and the syrup with the water; mix the two and filter clear, as directed. Blackberry Cordial. — This beverage is usually misnamed "blackberry brandy" or "blackberry wine." This latter be- longs only to wines obtained by the fermentation of the blackberry juice. When this is distilled then a true black- berry brandy is obtained, just as ordinary brandy is obtained by distilling ordinary wines. The name is frequently applied to a preparation containing blackberry root often combined with other astringents, but the true blackberry cordial is made according to the formulas given here- with. Most of these mention brandy, and this article should be good and fusel free, or it may be replaced by good whisky, or even by diluted alcohol, de- pending on whether a high-priced or cheap cordial is desired. I. — Fresh blackberry juice, 3 pints; sugar, 7i ounces; water, 30 fluidounces; brandy, 7J pints; oil of cloves, 3 drops; oil of cinnamon, 3 drops; alcohol, 6 fluidrachms. Dissolve the sugar in the water and juice, then add the liquor. Dissolve the oils in the alcohol and add J to the first solution, and if not suffi- ciently flavored add more of the seoond solution. Then filter. II. — Fresh blackberry juice, 4 pints; powdered nutmeg (fresh), 1 ounce; pow- dered cinnamon (fresh), 1 ounce; powdered pimento (fresh), Jounce; powdered cloves 764 WINES AND LIQUORS (fresh), J ounce; brandy, 2 J pints; sugar, 2J pounds. Macerate the spices in the brandy for several days. Dissolve the sugar in the juice and mix and filter clear. Cherry Cordials. — I. — Oil of bitter almonds 8 drops Oil of cinnamon 1 drop Oil of cloves 1 drop Acetic ether 12 drops Ceuanthic ether 1 drop Vanilla extract 1 drachm Alcohol 3 pints Sugar 3 pounds Cherry juice 20 ounces Distilled water, q. s. . 1 gallon The oils, ethers, and extracts must be dissolved in the alcohol, the sugar in part of the water, then mix, add the juice and filter clear. When the juice is not sufficiently sour, add a small amount of solution of citric acid. To color, use caramel. II. — Vanilla extract 10 drops Oil of cinnamon 10 drops Oil of bitter almonds. 10 drops Oil of cloves 3 drops Oil of nutmeg 3 drops Alcohol 21 pints Cherry juice 2| pints Simple syrup 3 pints Dissolve the oils in the alcohol, then add the other ingredients and filter clear. It is better to make this cordial during the pherry season so as to obtain the fresh expressed juice of the cherry. Curacoa Cordials. — - I. — Curacoa orange peel.. 6 ounces Cinnamon J ounce Mace 2| drachms Alcohol 3 J pints Water 4 J pints Sugar 12 ounces Mix the first three ingredients and re- duce them to a coarse powder, then mix with the alcohol and 4 pints of water and macerate for 8 days with an occasional agitation, express, add the sugar and enough water to make a gallon of finished product. Filter clear. II. — Curacoa or bitter orange peel 2 ounces Cloves 80 grains Cinnamon 80 grains Cochineal 60 grains Oil of orange (best). . 1 drachm Orange-flower water. J pint Holland gin 1 pint Alcohol 2 pints Sugar 3 pints Water, q. s 1 gallon Reduce the solids to a coarse powder, add the alcohol and macerate 3 days. Then add the oil, gin, and 3 pints of water and continue the maceration for 8 days more, agitating once a day, strain and add sugar dissolved in balance of the water. Then add the orange-flower water and filter. Kola Cordial. — Kola nuts, roasted and powdered 7 ounces Cochineal powder. ... 30 grains Extract of vanilla. ... 3 drachms Arrac 3 ounces Sugar 7 pounds Alcohol 6 pints Water, distilled 6 pints Macerate kola and cochineal with alcohol for 10 days, agitate daily, add arrac, vanilla, and sugar dissolved in water. Filter. Kiiminel Cordials. — I. — Oil of caraway 30 drops Oil of peppermint. ... 3 drops Oil of lemon 3 drops Acetic ether 30 drops Spirit of nitrous ether 30 drops Sugar 72 ounces Alcohol 96 ounces Water 96 ounces Dissolve the oils and ethers in the al- cohol, and the sugar in the water. Mix and filter. II. — Oil of caraway 20 drops Oil of sweet fennel ... 2 drops Oil of cinnamon 1 drop Sugar 14 ounces Alcohol 2 pints Water 4 pints Prepare as in Formula I. Orange Cordials. — Many of the prepa- rations sold under this name are not really orange cordials, but are varying mixtures of uncertain composition, pos- sibly flavored with orange. The folk)W- ing are made by the use of oranges: I- — Sugar 8 avoirdupois pounds Water 2| gallons Oranges.. . . 15 Dissolve the sugar in the water by the aid of a gentle heat, express the oranges, add the juice and rinds to the syrup, put the mixture into a cask, keep the whole in a warm place for 3 or 4 days, stirring frequently, then close the cask, set aside in a cool cellar and draw off the clear liquid. II- — Express the juice from sweet oranges, add water equal to the volume WINES AND LIQUORS 763 of juice obtained, and macerate the ex- pressed oranges with the juice and water tor about 12 hours. For each gallon of juice, add 1 pound of granulated sugar, grape sugar, or glucose, put the whole mto a suitable vessel, covering to exclude the dust, place in a warm location until fermentation is completed, draw ofi the clear liquid, and preserve in well-stop- pered stout bottles in a cool place. III. — Orange wine suitable for "soda" Surposes may be prepared by mixing 3 uidounces of orange essence with 13. fluidounces of sweet Catawba or other mild wine. Some syrup may be added to this if desired. Rose Cordial. — Oil of rose, very best. . 3 drops Palmarosa oil 3 drops Sugar 28 ounces Alcohol S2 ounces Distilled water, q. s . . 8 pints Dissolve the sugar in the water and the oils in the alcohol; mix the solutions, color a rose tint, and filter clear. Spearmint Cordial. — Oil of spearmint 30 drops Sugar 28 ounces Alcohol 52 ounces Distilled water, q. s . . 8 pints Dissolve the sugar in the water and the oil in the alcohol; mix the two solutions, color green, and filter clear. Absinthe. — ' I. — Oil of wormwood... 96 drops Oil of star anise ... 72 drops Oil of aniseed 48 drops Oil of coriander. .. 48 drops Oil of fennel, pure . 48 drops Oil of a'ngelica root 24 drops Oil of thyme 24 drops Alcohol (pure) ... .162 fluidounces Distilled water. ... 30 fluidounces Dissolve the oils in the alcohol, add the water, color green, and fllter clear. 11. — Oil of wormwood. . 36 drops Oil of orange peel. 30 drops Oil of star anise... 12 drops Oil of neroli petate. 5 drops Fresh oil of lemon . 9 drops Acetic ether 24 drops Sugar 30 avoirdupois ounces Alcohol, deodorized 90 fluidounces Distilled water 78 fluidounces Dissolve the oils and ether in the alcohol and the sugar in the water; then mix thoroughly, color green, and filter clear. DETANNATING WINE. According to Caspari, the presence of appreciable quantities of tannin in wine is decidedly oojectionable if the wine is to be used in connection with iron and other metallic salts; moreover, tannin is incompatible with alkaloids, and hence wine not deprived of its tannin should never be used as a menstruum for alka- loidal drugs. The process of freeing wines from tannin is termed detannation, and is a very simple operation. The easiest plan is to add J ounce of gelatin in number 40 or number 60 powder to 1 gallon of the wine, to agitate oc- casionally during 24 or 48 hours, and then to filter. The operation is prefer- ably carried out during cold weather or in a cold apartment, as heat will cause the gelatin to dissolve, and the macera- tion must be continued until a small portion of the wine mixed with a few drops of ferric chloride solution shows no darkening of color. Gelatin in large pieces is not suitable, especially with wines containing much tannin, since the newly formed tannate of gelatin will be deposited on the surface and prevent further intimate contact of the gelatin with the wine. Formerly freshly pre- pared ferric hydroxide was much em- ployed for detannating wine, but the chief objection to its use was due to the fact that some iron invariably was taken up by the acid present in the wine; moreover, the process was more tedious than in the case of gelatin. As the removal of tannin from wine in no way interferes with its quality — alcoholic strength and aroma remaining the same, and only coloring matter being lost — a supply of detannated wine should be kept on band, for it requires very little more labor to detannate a gallon than a pint. If ferric hydroxide is to be used, it must be freshly prepared, and a con- venient quantity then be added to the wine — about 8 ounces of the expressed, but moist, precipitate to a gallon. PREVENTION OF FERMENTATION. Fermentation may be prevented in either of two ways: (1) By -chemical methods, which con- sist in the addition of germ poisons or antiseptics, which either kill the germs or prevent their growth. Of these the principal ones used are salicylic, sul- phurous, boracic, and benzoic acids, formalin, fluorides, and saccharine. As these substances are generally regarded as adulterants and injurious, their use is not recommended. (2) The germs are either removed by 766 WINES AND LIQUORS some mechanical means such as a filter- ing or a centrifugal apparatus, or they are destroyed by heat or electricity. Heat has so far been found the most practical. When a liquid is heated to a sufficiently high temperature all organisms in it are killed. The degree of heat required, however, differs not only with the par- ticular kind of org;anism, but also with the liquid in which it is held. Time is also a factor. An organism may not be killed if heated to a high temperature and quickly cooled. If, however, the temperature is kept at the same high degree for some time, it will be killed. It must also be borne in mind that fungi, including yeasts, exist in the growing and the resting states, the latter oeing much more resistant than the former. One characteristic of the fungi and their spores is their great resistance to heat when dry. In this state they can be heated to 212° F. without being killed. The spores of the common mold are even more resistant. This should be well con- sidered in sterilizing bottles and corks, which should be steamed to 240° F. for at least 15 minutes. Practical tests so far made indicate that grape juice can be safely sterilized at from 165° to 176° F. At this tem- perature the flavor is hardly changed, while at a temperature much above 200° F. it is. This is an important point, as the flavor and quality of the product depend on it. Use only .clean, sound, well-ripened, but not over-ripe grapes. If an ordinary cider mill is at hand, it may be used for crushing and pressing, or the grapes may be crushed and pres.sed with the hands. If a light-colored juice is desired, put the crushed grapes in a cleanly washed cloth sack and tie up. Then either hang up securely and twist it or let two persons take hold, one on each end of the sack and twist until the great- er part of the juice is expressed. Next Gradually heat the juice in a double oiler or a large stone jar in a pan of hot water, so that the juice does not come in direct contact with the fire at a tempera- ture of 180° to 200° F., never above 200° F. It is best to use a thermometer, but if there be none at hand heat the juice until it steams, but do not allow it to boil. Put it in a glass or enameled vessel to settle for 24 hours; carefully drain the juice from the sediment, and run it through several thicknesses of clean flannel, or a conic filter made from woolen cloth or felt may be used. This filter is fixed to a hoop of iron, which can be suspended wherever necessary. After this fill into clean bottles. Do not fill entirely, but leave room for the liquid to expand when again heated. Fit a thin board over the bottom of an ordinary wash boiler, set the filled bottles (ordi- nary glass fruit jars are just as good) in it, fill in with water around the bottles to within about an inch of the tops, and gradually heat until it is about to simmer. Then take the bottles out and cork or seal immediately. It is a good idea to .take the further precaution of sealing the corks over with sealing wax or paraffine to prevent mold germs from entering through the corks. Should it be de- sired to make red juice, heat the crushed grapes to not above 200° F., strain through a clean cloth or drip bag (no pressure should be used), set away to cool and settle, and proceed the same as with light-colored juice. Many people do not even go to the trouble of letting the juice settle after straining it, but re- heat and seal it up immediately, simply setting the vessel away in a cool place in an upright position where they will be undisturbed. The juice is thus allowed to settle, and when wanted for use the clear juice is simply taken off the sedi- ment. Any person familiar with the process of canning fruit can also preserve grape juice, for the principles involved are identical. One of the leading defects so far found in unfermented juio^ is that much of it is not clear, a condition which very much detracts from its otherwise attractive ap- pearance, and due to two causes already alluded to. Either the final sterilization in bottles has been at a higher tempera- ture than the preceding one, or the juice has not been properly filtered or has not been filtered at all. In other cases the juice has been sterilized at such a high temperature that it has a disagreeable scorched taste. It should be remembered that attempts to sterilize at a tempera- ture above 195° P. are dangerous so far as the flavor of the finished product is concerned. Another serious mistake is sometimes made by putting the juice into bottles so large that much of it becomes spoiled before it is used after the bottles are opened. Unfermented grape juice prop- erly made and bottled will keep in- definitely, if it is not exposed to the atmosphere or mold germs; but when a bottle is once opened it should, like canned goods, be used as soon as possible to keep from spoiling. Another method of making unfer- mented grape juice, which is often re- WINES AND LIQUORS 767 sorted to where a sufficiently large quantity is made at one time, consists in tnis: Take a clean keg or barrel (one that has previously been made sweet). Lay this upon a skid consisting of two scant- lings or pieces of timber of perhaps 20 feet long, in such a manner as to make a runway. Then take a sulphur match, made by dipping strips of clean muslin about 1 incn wide and 10 inches long into melted brimstone, cool it and attach it to a piece of wire fastened in the lower end of a bung and bent over at the end, so as to form a hook. Light the match and by means of the wire suspend it in the barrel, bung the barrel up tight, and allow it to burn as long as it will. Re- peat this until fresh sulphur matches will no longer burn in the barrel. Then take enough fresh grape juice to fill the barrel one-third full, bung up tight, roll and agitate violently on the skid for a few minutes. Next burn more sulphur matches in it until no more will burn, fill in more juice until the barrel is about two-thirds full; agitate and roll again. Repeat the burning Erocess as before, after which fill the arrel completely with grape juice and roll. The barrel should then be bunged tightly and stored in a cool place with the bung up, and so secured that the package cannot be shaken. In the course of a few weeks the juice will have become clear and can then be racked off and filled into bottles or jars direct, sterilized, and corked or sealed up ready for use. By this method, however, unless skillfully handled, the juice is apt to have a slight taste of the sulphur. The following are the component parts of a California and a Concord unfer- mented grape juice: Con- Cali- cord fornia Per Per Cent Cent Solid contents 20 . 37 20 . 60 Total acids (as tartaric). .663 .53 Volatile acids 023 .03 Grape sugar 18.54 19.15 Free tartaric acids 025 .07 Ash 255. .19 Phosphoric acids. 027 .04 Cream of tartar 55 .59 This table is interesting in so far that the California unfermented grape juice was made from Viniferas or foreign varieties, whereas the Concord was a Labruska or one of the American sorts. The difference in taste and smell is even more pronounced than the analysis would indicate.' Small quantities of grape juice may be preserved in bottles. Fruit is likely to be dusty and to be soiled in other ways, and grapes, like other fruits, should be well washed before using. LeaVes or other extraneous matter should also be removed. The juice is obtained by moderate pressure in an ordinary screw press, and strained through felt. By gently heating, the albuminous matter is coagulated and may be skimmed off, and further clarification may be effected by filtering through paper, but such filtra- tion must be done as rapidly as possible, using a number of filters and excluding the air as much as possible. The juice so obtained may be pre- served by sterilization, in the following manner: Put the juice in the bottles in which it is to be kept, filling them very nearly full; place the bottles, unstop- pered, in a kettle filled with cold water, so arranging them on a wooden per- forated "false bottom" or other like con- trivance as to prevent their immediate contact with the metal, this preventing unequal heating and possible fracture. Now heat the water, gradually raising the temperature to the boiling point, and maintain at that until the juice attains a boiling temperature; then close the bottles with perfectly fitting corks, which have been Kept immersed in boiling water for a short time before use. The corks should not be fastened in any way, for, if the sterilization is not complete, fermentation and consequent explosion of the bottle may occur unless the cork should be forced out. If the juice is to be used for syrup, as for use at the soda fountain, the best method is to make a concentrated syrup at once, using about 2 pounds of refined sugar to 1 pint of juice, dissolving by a gentle heat. This syrup may be made by simple agitation without heat; and a finer flavor thus results, but its keeping quality would be uncertain. The juices found in the market are fre- quently preserved by means of antiseptics, but so far none have been proposed for this purpose which can be considered en- tirely wholesome. Physiological experi- ments have shown that while bodies suited for this purpose may be apparently with- out bad effect at first, their repeated in- gestion is likely to cause gastric disturb- ance. SPARKLING WINES. An apparatus for converting still into foaming wines, and doing this efficiently, simply, and rapidly, consists of a vertical steel tube, which turns on an axis, and 768 WINES AND LIQUORS bears several adjustable glass globes that are in connection with each other by means of distributing valves, the latter being of silver-plated bronze. The glass globes serve as containers for carbonic acid, and are kept supplied with this gas from a cylinder connected therewith. The wine to be impregnated with the acid is taken from a cask, through a special tube, which also produces a light pressure of carbonic acid on the cask, the object of which is to prevent the access of atmospheric air to the wine within, and, besides, to cause the liquid to pass into the bottle without jar or stroke. The bottles stand under the distributing valves, or levers, placed above and below them. Now, if the cock, by means of which the glass bulbs and the bottles are brought into connection, is slightly opened, and the desired lever is put in action, the carbonic acid at once forces the air out of the bottles, and sterilizes them. The upper bottles are now gradu- ally filled. The whole apparatus, in- cluding the filled bottles, is now tilted over, and the wine, of its own weight, flows through collectors filled with car- bonic acid, and passes, impregnated with the gas, into other bottles placed below. Each bottle is filled in course, the time required for each being some 45 seconds. The saturation of the liquid with car- bonic acid is so complete and plentiful that there is no need of hurry in corking. By means of this apparatus any desired still wine is at once converted into a sparkling one, preserving at the same time its own peculiarities of taste, bou- quet, etc. The apparatus may be used equally well upon fruit juices, milk, and, in fact, any kind of liquid, its extreme simplicity permitting of easy and rapid cleansing. ARTIFICIAL FRENCH BRANDY. I. — The following is Eugene Dieterich's formula for Spinius vini Gallici arti- ficialis: Tincture of gall- apples 10 parts Aromatic tincture. . . 5 parts Purified wood vine- gar S parts Spirit of nijrous ether 10 parts Acetic ether 1 part Alcohol, 68 per cent. 570 parts Distilled water 400 parts Mix, adding the water last, let stand for several days, then filter. II. — The Miinchener ApothekerVerein has adopted the following formula for the same thing: Acetic acid, dilute, 90 per cent 4 parts Acetic ether 4 parts Tincture aromatic . . 40 parts Cognac essence 40 parts Spirit of nitrous ether 20 parts Alcohol, 90 per cent.5,000 parts Water, distilled 2,500 parts Add the acids, ethers, etc., to the alcohol, and finally add the water. Let stand several days, and, if necessary, filter. III. — The Berlin Apothecaries have adopted the following as a magistral formula: Aromatic tincture. . . 4 parts Spirit of nitrous ether 5 parts Alcohol, 90 per cent.1,000 parts Distilled water, quantity sufficient to make 2,000 parts Mix the tincture and ether with the alcohol, add the water and for every ounce add one drop of tincture of rhatany. Of these formulas the first is to be preferred as a close imitation of the taste of the genuine article. To imitate the color use burnt sugar. LIQUEURS. Many are familiar with the properties of liqueurs but believe them to be very com- plex and even mysterious compounds. This is, of course, due to the fact that the formulas are of foreign origin and many of them have been kept more or less secret for some time. Owing to the peculiar combination of the bouquet oils and flavors, it is impossible to make ac- curate analyses of them. But by the use of formulas now given, these products seem to be very nearly duplicated. It is necessary to use the best sugar and oils obtainable in the preparation of the liqueurs. As there are so many grades of essential oils on the market. It is difficult to obtain the best indirectly. The value of the cordials is enhanced by the richness and odor and flavor of the oils, so only the best qualities should be used. For filtering, flannel or felt is valuable. Flannel is cheaper and more easily washed. It is necessary to return filtrate several times with any of the filtering media. As a clarifying agent talcum allowed to stand several days acts well. These rules are common to all. WINES AND LIQUORS 769 The operations are all simple: First: Heat all mixtures. Second: Keep the product in the dark. Third: Keep in warm place. The liaueurs are heated to ripen the bouquet flavor, it having effect similar to age. To protect the ethereal oils, air and light are excluded ; hence it is recom- mended that the bottles be filled to the stopper. The liqueurs taste best at a temperature not exceeding 55° F. They are all improved with age, especially many of the bouquet oils. B€n€dictine. — I. — Bitter almonds.. 40 grams Powdered nut- meg 4.500 grams Extract vanilla.. 120 grams Powdered cloves 2 grams Lemons, sliced.. 2 grams True saffron. . . . .600 grams Sugar 2,000 grams Boiling milk 1,000 c.c. Alcohol, 95 per cent 2,000 c.c. Distilled water.. 2,500 c.c. Mix. Let stand 9 days with occasional agitation. Filter sufficiently. II. — Essence Bene- dictine 75 c.c Alcohol, 95 per cent 1,700 c.c. Mix. Sugar 1,750 grams Water, distilled. 1,600 c.c. Mix together, when clear solution of sugar is obtained. Color with caramel. Filter sufficiently. Note. — This liqueur should be at least 1 year old before used. Essence Benedictine for B£n€dictine No. II.— I. — Myrrh 1 part Decorticated carda- mom 1 part Mace 1 part Ginger 10 parts Galanga I'oot 10 parts Orange peel (cut).. 10 parts Extract aloe 4 parts Alcohol 160 parts Water 80 parts Mix, macerate 10 days and filter. II. — Extract licorice 20 parts Sweet spirits niter.. 200 parts Acetic ether. ...... 30 parts Spirits ammonia. . . 1 part Coumarin 12 parts Vanillin I part III. — Oil lemon 3 drops Oil orange peel .... 3 drops Oil wormwood 2.5 drops Oil galanga^ 2 drops Oil ginger 1 drop Oil anise 15 drops Oil cascarilla 15 drops Oil bitter almond. . 12 drops Oil milfoil 10 drops Oil sassafras 7 drops Oil angelica 6 drops Oil hyssop 4 drops Oil cardamom 2 drops Oil hops 2 drops Oil juniper 1 drop Oil rosemary 1 drop Mix A, B, and C. Note. — This essence should stand 2 years before being used for liqueurs. Chartreuse. — I. — Elixir vegetal de la Grande Chartreuse. Fresh balm mint herbs 64 parts Fresh hyssop herbs . . 64 parts Angelica herbs and root, fresh, together 32 parts Cinnamon 16 parts Saffron 4 parts Mace 4 parts Subject the above ingredients to maceration for a week with alcohol (96 per cent), 1,000 parts, then squeeze off and distill the liquid obtained over a, certain quantity of fresh herbs of balm and hyssop. After 125 parts of sugar have been added to the resultant liqueur, filter. The genuine Chartreuse comes in three different colors, viz., green, white, and yellow. The coloration, however, is not artificial, but is determined by the addition of varying quantities of fresh herbs in the distillation. But since it would require long and tedious trials to produce the right color in a small manu- facture, the yellow shade is best im- parted by a little tincture of saffron, and the green one by the addition of a few drops of indigo solution. II. — Eau des Carmes 3 J ounces Alcohol 1 quart Distilled water 1 quart Sugar li pounds Tincture of saffron. . . 1 ounce Mix. Dissolve sugar in warm water, cool, strain, add remainder of in- gredients, and filter. This is known as yellow Chartreuse, 770 WINES AND LIQUORS Curasao Liqueur. — A.— Oil lemon, q. s 10 drops Oil bitter almond, q. s. 5 drops Oil curafoa orange. . . 15 parts Oil sweet orange 1 part Oil bitter orange 1 part Cochineal 1 part French brandy 50 parts B. — Alcohol 4,500 parts C. — Sugar 3,500 parts Water (distilled) 4,000 parts Mix A, B, and C. Filter. Color with caramel. May Bowl or May Wine. — The prin- cipal ingredient of May bowl, or that which gives it its flavor and bouquet, is fresh W aldmeisterhraut {Asperula odor- ata), the "woodruff" or "sweet grass," "star grass," and a dozen other aliases, of a plant growing wild all over Europe, both continental and insular, and cul- tivated by some gardeners in this country. It is accredited with being a diuretic, deobstruent and hepatic stimulant, of no mean order, though it has long been banished from the pharmacopoeia. In Baden and in Bavaria in preparing Maitrank the practice was formerly to first make an essence — M aitrankessenz, for the preparation of which every house- wife had a formula of her own. The following was that generally used in the south of Germany: I. — Fresh, budding woodruff, cut fine 500 parts Alcohol, commer- cial (90 per cent). 1,000 parts Digest together for 14 days, then filter and press off. Many add to this some flavoring oil. As coumarin has been found to be the principle to which the Waldmeister owes its odor, many add to the above Tonka bean, chopped fine, 1 part to the thousand. Prom about 12 to 15 drachms of this essence is added to make a gallon of the wine, which has about the following formula: French brandy, say 4 drachms Oil of unripe oranges 80 drops Sugar 4 to 8 ounces Essence 12 drachms Wine to make 1 gallon II. — Take enough good woodruff (Waldmeister) of fine aroma and flavor. Remove all' parts that will not add to the excellence of the product, such as wilted, dead, or imperfect leaves, stems, etc., and wash the residue thoroughly in cold water, and with as little pressure as pos- sible. Now choose a flask with a neck sufficiently wide to receive the stems without pressing or bruising them, and let the pieces fall into it. Pour in sufficient strong alcohol (96 per cent) to cover the herbs completely. In from 30 to 40 minutes the entire aroma is taken up by the alcohol, which takes on a beautiful green color, which, _ unfor- tunately, does not last, disappearing in a few days, but without affecting the aroma in the least. The alcohol should now be poured off, for if left to macerate longer, while it would gain in aroma, it will also take up a certain bitter principle that detracts from the delicacy of flavor and aroma. The extract is now poured on a fresh quantity of the herb, and continue proceeding in this manner until a suffi- ciently concentrated extract is obtained to give aroma to 100 times its weight of wine or cider. III. — Fresh woodruff, in bloom or flower, is freed from the lower part of its stem and leaves, and also of all foreign or inert matter. The herb is then lightly stuck into a wide-mouth bottle, and covered with strong alcohol. After 30 minutes pour off the liquor on fresh woodruff. In another half hour the essence is ready, though it should not be used immediately. It should be kept at cellar heat (about 60° P.) for a few days, or until the green color vanishes. Any addition to the essence of aromatics, such as orange peel, lemons, spices, etc., is to be avoided. To prepare the Maitrank, add the essence to any good white wine, tasting and testing, until the flavor suits. The following are other formulas for the drink: IV. — Good white wine or cider 65 parts Alcohol, dilute 20 parts Sugar 10 parts Maitrankessenz 1 part Mix. Maraschino Liqueur. — Oil bitter almonds 15 minims Essence vanilla 1 drachm Jasmine extract 2 drops Raspberry essence.. . . 10 drops Oil neroli 10 drops Oil lemon 15 minims Spirits nitrous ether . . 2 drachms Alcohol 6 pints Sugar 8 pounds Rose water 10 ounces Water sufficient to make 2 gallons Make a liquor in the usual manner. To Clarify Liqueurs. — For the clari- fication of turbid liqueurs, burnt pow- WINES AND LIQUORS— WIRE ROPE 771 dered alum is frequently employed. Make a trial with 200 parts of the dim liqueur, to which 1.5 parts of burnt powdered alum is added; shake well and let stand until the liquid is clear. Then decant and filter the last portion. If the trial is successful, the whole stock may be clarified in this manner. IVLEDICINAL WINES: Beef and Iron. — The following formula is recommended by the American Phar- maceutical Association: I. — Extract of beef. ... 35 grams Tincture of citro- chloride of iron. . 35 c.c. Compound spirit of orange 1 c.c. Hot water 60 c.c. Alcohol 125 c.c. Syrup 125 c.c. Sherry wine suffi- cient to make.. . . 1,000 c.c. Rub the extract of beef with the hot water, and add, while stirring, the alcohol. Allow to stand 3 days or more, then filter and distill off the alcohol. Add to the residue 750 cubic centimeters of the wine, to which the compound spirit of orange has been previously added. Finally add the tincture of citro- chloride of iron, syrup, and enough wine to make 1,000 cubic centimeters. Filter if nece..:sary. II. — For Poultry and Stock.— A good formula for wine of beef and iron is as follows: Beef extract 256 grains Tincture of iron citro-chloride . ..256 minims Hot water 1 fluidounce Sherry wine enough to make 1 pmt Pour the hot water in the beef extract and triturate until a smooth mixture is made. To this add, gradually and under constant stirring, 12 ounces of the wine. Add now, under same conditions, the iron, stir in well, and finally add the remainder of the wine. Cinchona. — I. — Macerate 100 parts of cinchona succirubra in coarse powder for 30 minutes in 100 parts of boiling water. Strain off the liquor and set aside. Macerate the residuum m 1,000 parts of California Malaga for 24 hours, strain off the liquid and _ set aside. Finally macerate the magma in 500 parts of alcohol, of 50 per cent, for 1 hour, strain off and set aside. Wash the residue with a little water to recover all the alcoholic tincture; then unite all the 35 liquids, let stand for 24 hours, ana filter. To the filtrate add 800 parts loaf sugar and dissolve by the aid of gentle heat and again filter. The product is all that could be asked of a wine of cinchona. To make a ferrated.wine of this, dissolve 1 part of citro-ammoniacal pyrophos- phate of iron to every 1,000 parts of wine. II. — Yvon recommends the following formula: Red cinchona, coarse powder 5 parts Alcohol, 60 per cent. . 10 parts Diluted hydrochloric acid 1 part Bordeaux wine 100 parts Macerate the bark with the acid and alcohol for 6 days, shaking from time to time, add the wine, macerate for 24 hours, agitating frequently, then filter. Removal of Musty Taste and Smell from Wine. — For the removal of this unpleasant quality, Kulisch recommends- the use of a piece of charcoal of about the size of a hazel nut — 5 to 10 parts per 1,000 parts of wine. After this has remained in the cask for 6 to 8 weeks, and during this time has been treated once a week with a. chain or with a stirring rod, the wine can be racked off. Obstinate turbid- ness, as well as stalk taste and pot flavor, can also be obviated by the use of the remedy. WINTERGREEN, TO DISTINGUISH METHYL SALICYLATE FROM OIL OF. A quantity of the sample is mixed in a test tube with an equal volume of pure concentrated sulphuric acid. Under these conditions the artificial compound shows no rise in temperature and ac- quires only a slight yellowish tint, while with the natural oil there is a marked rise in temperature and the mixture assumes a rose-red color, gradually passing into darker shades. WIRE ROPE. See also Steel. A valuable anti-friction and preserva- tive compound for mine cables is as follows: Seven parts soft tallow and 3 parts plumbago, mixed thoroughly; make a long, hollow box or trough, gouge out a 4 by 6 piece of scantling about 2 feet long, sawing it down lengthwise and hollowing out the box or trough enough to hold several pounds of the compound, making also a hole lengthwise of the 772 WIRE ROPE— WOOD trough for the cable to run through; then affix to rope and clamp securely, having the box or trough so fixed that it cannot play, and letting the cable pass through it while going up or. down, so that it will get a thorough coating. This, it is found, will preserve a round cable very well, and can be used at least once a week. For a flat steel cable raw linseed oil can be used instead of the tallow, in about the proportioi! of 6 parts oil and 3 plumbago. If tar is used, linseed oil is to be added to keep the tar from adhering, both in- gredients to be mixed while warm. To preserve wire rope laid under ground, or under water, coat it with a mixture of mineral tar and fresh slaked lime in the proportion of 1 bushel of lime to 1 barrel of tar. The mixture is to be boiled, and the rope saturated with it while hot; sawdust is sometimes added to give the mixture body. Wire rope ex- posed to the weather is coated with raw linseed oil, or with a paint composed of equal parts of Spanish brown or lamp- black with linseed oil. WIRE HARDENING: See Steel. WITCH-HAZEL JELLY: See Cosmetics. Wood DECORATIVE WOOD-FINISH. Paint or stencil wood with white-lime paint. When it has dried slowly in the shade, brush it off and a handsome dark- brown tone will be imparted to the oak- wood. Some portions which may be desired darker and redder are stained again with lime, whereby these places become deeper. It is essential that the lime be applied in even thickness and dried slowly, for only then the staining will be red and uniform. After the staining saturate the wood with a mixture of varnish, 2 parts; oil of turpentine, 1 part; turpentine, J part. When the oil ground is dry apply 2 coatings of pale amber varnish. Colored decorations on pinewood can be produced as follows: The most difficult part of the work is to remove the rosin accumulations with- out causing a spot to appear. Burn out the places carefully with a red-hot iron. Great care is necessary to prevent the iron from setting the rosin on fire, thus causing black smoke clouds. The resulting holes are filled up with plaster to which a little light ocher is added to imitate the shade of the wood as perfectly as possible. Plaster up no more than is necessary. Rub the wood down with very fine sandpaper, taking especial care to rub only with the grain of the wood, since all cross scratches will remain permanently visible. After this preliminary work cover the wood with a solution of white shellac, in order not to injure the handsome golden portions of the wood and to preserve the pure light tone of the wood in general. On this shellac ground paint and stencil with glazing colors, ground with isinglass solution. The smaller, more delicate portions, such as flowers and figures, are simply worked out in wash style with water colors, using the tone of the wood to remain as high lights, sur- rounding the whole with a black contour. After this treatment the panels and decorated parts are twice varnished with dammar varnish. The friezes and pilaster strips are glazed darker and set off with stripes; to varnish them use amber var- nish. The style just mentioned does not ex- clude any other. Thus, for instance, a very good effect is produced by decorat- ing the panels only with a black covering color or with black and transparent red (burnt sienna and a little carmine) after the fashion of boule work in rich orna- ments, in such a way that the natural wood forms the main part and yet quite a considerable portion of the ornament. Intarsia imitation is likewise well adapted, since the use of variegated cov- ering colors is in perfect keeping with the decoration of natural wood. How it should be applied, and how much of it, depends upon one's taste, as well as the purpose and kind of the object. It is a well-known fact that the large pores of oak always look rather smeary, according to whether the workshop is more or less dusty. If this is to be avoided, which is essential for neat work, take good wheat starch, pound it fine with a hammer and stir by means of a wooden spatula good strong polish with the wheat starch to a paste and work the paste into the pores by passing it cross- wise over the wood. After about J hour, rub down the wood thus treated in such a manner that the pores are filled. In case any open pores remain, repeat the process as before. After that, rub down, polish or deaden. If this opera- tion IS not performed, the pores will always look somewhat dirty, despite all WOOD 773 care. Every cabinetmaker will readily perceive that this filling of the pores will save both time and polish in the sub- sequent finishing. WOOD FILLERS. The novice in coach painting is quite as likely to get bewildered as to be aided by much of the information given about roughstuif, the more so as the methods differ so widely. One authority tells us to use a large proportion of lead ground in oil with the coarser pigment, while another says use dry lead and but a small percentage, and still another in- sists that lead must be tabooed alto- gether. There are withal a good many moss-grown superstitions associated with the subject. Not the least of these is the remarkably absorbent nature which the surface that has been roughstuffed and "scoured" is supposed to possess. By many this power of absorption is be- lieved to be equal to swallowing up, not only all tbe color applied, but at least 3 coats of varnish, and none of these would think of applying a coat of color to a roughstuffed surface without first giving it a coat of liquid filler as a sort of sacrificial oblation in recognition of this absorbing propensity. Another authority on the subject has laid down the rule that in the process of scouring, the block of pumice stone must always be moved in one direction, presumably for the reason that some trace of the stone is likely to be visible after the surface is finished. If the block of stone is scratching, per- haps the appearance of the finished panel may be less objectionable with the fur- rows in parallel lines than in what en- gravers call "cross-hatching," but if the rubbing is properly done it is not easy to discover what difference it could make whether the stone is moved in a straight line or a circle. As to absorption, it can- not be distinguished in the finished panel between the surface that was coated with liquid filler and that to which the color was applied directly, ex- cept that cracking always occurs much sooner in the former, and this will be found to be the case with surfaces that have been coated with liquid filler and finished without roughstuff. Among the pigments that may be used for rough- stuff, and there are half a dozen "or more, any of which may be used with success, there is no doubt but that known as "English filler" is best, but it is not always to be had without delay and in- conveniences. Yellow ocher, Reno umber and Key- stone filler are all suitable for roughstuff, the ocher having been used many years for the purpose, but, as already re- marked, tne Lnglish filler is best. This is the rule for mixing given, by Nobles and Hoare: Four pounds filler, 1 pound ground white lead, 1 pint gold size, 1 pint varnish and 1| pints turpentine, or J pint good size and J pint boiled oil in lieu of the varnish. In regard to the use of white lead ground in oil, it makes the rubbing more laborious, increases the liability to scratching, and requires a much longer time to harden before the scouring can be done, without in any appreciable man- ner improving the quality of the surface when finished. It may be remarked here that the ad- dition of white lead, whether ground in oil or added dry to the coarser pigment, increases the labor of scouring just in proportion as it is used until sufficient may be used to render the scouring proc- ess impossible; hence, it follows that the mixing should be governed by the character of the job in hand. If the job is of a cheap class the use of very little or no lead at all is advisable, and the pro- portion of Japan and turpentine may also be increased, with the result that a fairly good surface may be obtained with much less labor than in the formula given. The number of coats of filler required to effect the purpose in any given case must depend upon how well the builder has done his part of the work. If he has left the surface very uneven it follows, as a matter of course, that more coats will be required to make it level, and more of the roughstuff will remain after the leveling process than if the wood- work had been more perfectly done. While the merits of a system or method are not to be judged by its antiquity, there should be a good reason to justify the substitution of a new method for one that has given perfect satisfaction for generations and been used by the best coach painters who ever handled a brush. A well-known writer on paints says that the effect of a varnish is usually at- tributed to the manner of its applica- tion and the quantity of thinners used for diluting the melted gums, with the prepared oils and the oxidizing agents used in its manufacture. While this has undoubtedly much to do with the success- ful application of varnish, there are other facts in this connection that should not be overlooked. For example, varnish is sometimes acted on by the breaking up, or the disintegration of the filling coats; which in turn is evidently acted on by the wood itself, according to its nature. 774 WOOD With the aid of the microscope in examining the component parts of wood a cellular tissue is observed which va- ries in form according to the species and the parts which are inspected. This cellular tissue is made up of small cavities called pores or cells, which are filled with a widely diversified matter and are covered with a hard and usually brittle substance called lignin. This diversified matter consists of mineral salts and various organic sub- stances, gelatinous in their nature and held in solution by a viscous liquid and con- taining nitrogenous matter in different combinations, the whole being designated by the general name of albuminous sub- stances. The older the wood the more viscous is the matter; while wood of recent growth (sapwood) contains less viscous matter holding these substances in solution. This albumen in wood acts on substances like filler and varnish in one way or the other, good or bad. The seasoning of wood does not dispose of these substances. The water evaporates, leaving them adhering to the sides of the cells. The drier these substances are the less action they exert on the filler or what- ever substance is coated on the surface. If the filler disintegrates, it affects the varnish. All albuminous substances, be they dry or in liquid form, are subject, more or less, according to the protein they con- tain — which seems, or rather is, the es- sential principle of all albuminous matter — to the influence of caustic potash and soda. Thus, the albumen of an egg is exactly like that contained in the com- position of wood. As albumen in wood becomes solid by drying, it is easily dis- solved again, and will then be acted on chemically by any extraneous substance with which it comes in contact. Some of the shellacs, substitutes for shellacs, and some of the liquid fillers are manufactured from some of the following substances: Old linseed oil, old varnish, old and hard driers, turpentine, benzine, often gasoline, rosin, whiting, cornstarch flour, hulls, paint skins, silica, and so on. The list is long. To these must be added a large volume of potash, to bring it to and hold it in solution. There must be an excess of potash which is not com- bined into a chemical compound, which if it did, might mitigate its influence on the albumen of the wood. But as there is potash in its pure state remaining in the solution it necessarily attacks the al- bumen of the wood, causing disintegra- tion, which releases it from the wood, causing white, grayish flakes, and the formation of a powder. This is not a con- clusion drawn from an inference but an established scientific fact resulting from experiments with fillers the various com- positions of which were known. All alkalies act on albumen. No one would knowingly varnish over a surface such as it would be were the white of an egg applied to it and then washed with an alkali solution; but that is just what is done when varnish is put over a wood surface filled with a filler which contains an alkali. Most of the combinations of material used in the painting trade are mixtures; that is, each part remains the same — exerting the same chemical action on another substance, or any other sub- stance coming in contact with a paint mixture will exert the same chemical action on any part, or on any ingredient it contains, the same as if that part was by itself. We can now account for some of the numerous peculiarities of varnish. We know that any alkali when coming in con- tact with albumen forms a compound, which on drying is a white, britue sub- stance easily disintegrated. This is why potash, sal soda, and kindred substances will remove paint. The alkali attacks the albumen in the oil, softening it, causing easy removal, whereas if it were allowed to dry, the albumen in the oil would take on a grayish color quite brittle. Potash or other alkalies in filler not only attack the albumen in the wood, but also attack the albumen in the oil by forming a com- pound with it. Probably this compound is very slight, only forming a compound in part, enough, nevertheless, to start a destroying influence, which is demon- strated by the following results of experi- ments. The reader has, perhaps, some time in his career applied a rosin varnish over a potash filler and has been sur- prised by the good results, a more per- manent effect being obtained than in other instances where the best of varnish was used. This is accounted for by the rosin of the potash. Again, the reader may have had occasion to remove varnish with potash and found that potash would not touch it. This is because of its being a rosin varnish. Potash in filler may be rendered somewhat inert, by reason of Its compounding with other parts of the filler, but owing to the quantity used in some of the commercial fillers it is not possible that all the alkali is rendered inert. Hence it will attack the albumen wtierever found, as all albumen is iden- tical in its chemical composition. Alkalies have but little effect on the WOOD 775 higher classes of gums, because of their effect on the albumen in the wood and oil. All alcohol varnishes or varnishes made by the aid of heat stand well over an alkali filler. Varnishes which contain little oil seem to stand well. This is ac- counted for by the fact that alcohol ren- ders albumen insoluble. Alkalies of all kinds readily attack shellac and several other of the cheap gums, forming unstable compounds on which oil has but little effect. Close-grained wood contains less albu- men and more lignin than open-grained varieties, and consequently does not take so much filler, which accounts for the finish invariably lasting longer than the same kind used on an open-grained wood. Open-grained wood contains more sap than close grained; consequently there is more albumen to adhere to the sides of the cells. The more albumen, the more readily it is attacked by the potash, and the more readily decomposed, or rather destroyed. Alcohol renders albumen insoluble immediately on application. It prevents it from compounding with any other substance, or any other substance com- pounding with it. Hence, we must con- clude that an application of alcohol to wood before the filler is applied is valuable, which is proven to be a fact by experiment. Wash one half of a board with alcohol, then apply the potash filler over all. Again, wash the portion of the board on which is the filler and apply a heavy-bodied oil varnish. Expose to sunlight and air the same as a finished door or the like, and wait for the result. At the end of a few months a vast differ- ence will be found in the two parts of the surface. The one on which there is no alcohol will show the ravages of time and the elements much sooner than the one on which it is. Wood finishers demand a difference in the composition of fillers, paste and liquid, for open- and close-grained wood, respectively; but unfortunately they do not demand a, difference between either kind in themselves, according to the kind of wood. Paste fillers are used indis- criminately for open-grained wopd and liquid for close-grained wood. To find the fillers best adapted for a certain wood, and to classify them in this respect will require a large amount of chemical work and practical experi- ments; but that it should be done is evidenced by the fact that both success and failure result from the use of the same filler on different varieties of wood. After once being classified (owing to the large number now on the market), they will not number nearly so many in the ag- fregate as might be supposed; as it will e found in many instances that two en- tirely different varieties of wood resemble each other more closely in their vascular formation and cell characteristics than do two other specimens of the same variety. It is a recognized fact that paste fillers whose base is starch or the like work better and give better results in certain in- stances, while those whose base is mineral matter seem to do better in other cases. It is noticed that rosewood as a finish- ing veneer is obsolete. This is not because of its scarcity, but because it is so hard to finish without having been seasoned for a long time. In these days, manu- facturers cannot wait. It takes longer for the sap of rosewood to become inac- tive, or in trade parlance to "die," than any other wood. This is because it takes so long for the albumen in the sap to coagulate. Rosewood has always been a source of trouble to piano makers, on account of the action of the sap on the varnish. However, if this wood, previ- ously to filling, was washed with a weak solution of phosphoric acid, and then with wood spirit, it might be more easily finished. The phosphoric acid would coagulate the albumen on the surface of the wood immediately, while alcohol would reduce it to an insoluble state. The idea here is to destroy the activity of the sap, on the same principle as sappy E laces and knot sap are destroyed by alco- ol-shellac before being painted. Oak is another wood which gives the painter trouble to finish. This may be accounted for as follows: Oak contains a sour acid principle called tannic acid. It is a very active property. Wood dur- ing the growing season contains more albumen; thus in the circulation of the sap a large quantity of soft matter is de- posited on the lignin which lines the cells, which lignin, if it contains any acid matter, acts on the material of the filler. Tannic acid has a deleterious effect on some of the material of which a number of fillers are made. Starch and many gums are susceptible to its influence, making some of them quite soft. Oak, like most other timber cut at the season when the least sap is in circulation, is the more easily finished. The vascular formation may, and no doubt has, something to do with wood finishing. Different species of wood differ materially in their vascular and cellular formation. Wood finishers rec- ognize a difference in treatment of French burl walnut and the common American 776 WOOD variety. Circassian and Italian walnut, although of the same species, demand widely different treatment in finishing to get the best results. The only way to find the best ma- terials to use in certain cases is to study and experiment with that end in view. If, by aid of a microscope, a, certain piece of wood shows the same cellular formation that another piece did which was successfully finished by a certain process, it may be regarded as safe to treat both alike. If observation on this line is indulged in, it will not take the finisher very long to learn just what treatment is best for the work in hand. How often it has been noticed in some- thing of two parts, like a door, that the panels when finished will pit, run, or sag, while the sides will present a sur- face in every way desirable and vice versn. This is due to the difference in the cellular construction of the wood and to the cellulose, and cannot be otherwise for the parts have been seasoned the same time and treated exactly alike. The physiology of wood is imperfectly understood, but enough is known to warrant us in saying with a certainty that the chemicals in fillers do act upon the principles embodied in its formation. Some tried formulas follow: I. — Make a paste to fill the cracks as follows: Old furniture polish: Whiting, plaster of Paris, pumice stone, litharge, equal parts, Japan drier, boiled linseed oil, turpentine, coloring matter, of each a sufficient quantity. Rub the solids intimately with a mix- ture of 1 part of the Japan, 2 parts of the linseed oil, and 3 parts of turpentine, coloring to suit with Vandyke brown or sienna. Lay the filling on with a brush, let it set for about 20 minutes, and then rub off clean except where it is to remain. In 2 days it will be hard enough to polish. After the surface has been thus prepared, the application of a coat of first-class copal varnish is in order. It is recom- mended that the varnish be applied in a moderately warm room, as it is injured by becoming chilled in drying. To get the best results in varnishing, some sicill and experience are required. The var- nish must be kept in an evenly warm temperature, and put on neither too plentifully nor too gingerly. After a satisfactorily smooth and regular surface has been obtained, the polishing proper may be done. This may i)e accomplished by manual labor and dexterity, or by the application of a very thin, even coat of a very fine, transparent varnish. If the hand-polishing method be pre- ferred, it may be pursued by rubbing briskly and thoroughly with the follow- ing finishing polish: Alcohol 8 ounces Shellac 2 drachms Gum benzoin 2 drachms Best poppy oil 2 drachms Dissolve the shellac and gum in the alcohol in a warm place, with frequent agitation, and, when cold, add the poppy oil. This may be applied on the end of a cylindrical rubber made by tightly rolling a piece of flannel, which has Deen torn, not cut, into strips 4 to 6 inches wide. It should be borne in mind that the surface of the cabinet work of a piano is generally veneered, and this being so, necessitates the exercise of much skill and caution in polishing. II. — Prepare a paste from fine starch flour and a thick solution of brown shellac, with the spatula upon a grinding stone, and rub the wooden object with this. After the drying, rub off with sandpaper and polish lightly with a rag moistened with a thin shellac solution and a few drops of oil. The ground thus prepared varnish once or twice and a fine luster will be obtained. This method is well adapted for any wood with large pores, such as oak. Removal of Heat Stains from Polished Wood. — Fold a sheet of blotting paper a couple of times (making 4 thicknesses of the paper), cover the place with it, and put a hot smoothing iron thereon. Have ready at hand some bits of flannel, also folded and made quite hot. As soon as the iron has macie the surface of the wood quite warm, remove the paper, etc., and go over the spot with a piece of parafUne, rubbing it tard enough to leave a coating of the substance. Now with one of the hot pieces of flannel rub the injured surface. Continue the rub- bing, using freshly warmed cloths until the whiteness leaves the varnish or polish. The operation may have to be repeated. PRESERVATION OF WOOD. I- — ^ excellent way of preserving wood is to cut it between August and October. The branches are removed, leaving only the leaves at the top. The trunks, carefully cut or sawn (so that their pores remain open), are immediately placed upright, with the lower part im- mersed in tanks three-quarters filled with water, into which 3 or 4 kilograms of powdered cupric sulphate per hectoliter have been introduced. The mass of WOOD 777 leaves left at the extremity of each trunk is sufficient to cause the ascent of the liquid by means of the capillary force and a reserve of energy in the sap. II. — Wood which can be well pre- served may be obtained by making a circular incision in the bark of the trees a certain time before cutting them down. The woodcutters einployed in the immense teak forests of Siam have adopted in an empirical way a similar process, which has been productive of good results. The tree is bled, making around the trunk, at the height of 4 feet above ground, a circular incision 8 inches wide and 4 inches deep, at the time when it is in bloom and the sap rising. Sometimes the tree is left stand- ing for 3 years after this operation. Frequently, also, a deep incision reach- ing the heart is made on two opposite sides, and then it takes sometimes only 6 months to extract the sap. It is probable that it is partly in con- sequence of this method that the teak- wood acquires its exceptional resistance to various destructive agents. III. — A good preservation of piles, stakes, ana palisades is obtained by leaving the wood in a bath of cupric sulphate of 4° of the ordinary acidimeter for a time which may vary from 8 to 15 days, according to greater or less dry- ness of the wood and its size. After they are half dried they are immersed in a bath of lime water; this forms with the sulphate an insoluble compound, pre- venting the rain from dissolving the sulphate which has penetrated the wood. This process is particularly usetul for vine props and the wood of white poplars. A good way to prevent the decay of stakes would be to plant them upside down; that is, to bury the upper ex- tremity of the branch in the ground. In this way, the capillary tubes do not so easily absorb the moisture which is the cause of decay. It frequently happens that for one or another reason, the im- pregnation of woods designed to be planted in the ground, such as masts, posts, and supports has been neglected. It would be impracticable, after they are placed, to take up these pieces in order to coat them with carbolineum or tar, especially if they are fixed in a wall, masonry, or other structure. Recourse must be had to other means. Near the point where the piece rises from the ground, a hole about one centimeter xn width is made in a downward slanting direction, filled with carbolineum, and closed with a wooden plug. It depends upon the consistency of the wood wnether the liquid will be absorbed in 1 or 2 days. The hole is filled again for a Week. The carbolineum replaces by degrees the water contained in the wood. When it is well impregnated, the hole is definitely closed with a plug of wood, which is sawn level with the open- ing. The wood will thus be preserved quite as well as if it had been previously coated with carbolineum. IV. — Wooden objects remaining in the open air may be effectually protected against the inclemency of the weather by means of the following coating: Finely powdered zinc oxide is worked into a paste with water and serves for white- washing walls, garden fences, benches, r.nd other wooden objects. After dry- ing, probably at the end of 2 or 3 hours, the objects must be whitewashed again with a very dilute solution of zinc chloride in glue or water. Zinc oxide and zinc chloride form a brilliant, solid compound, which resists the inclemency of the weather. As a paint for boards, planks for cover- ing greenhouses, garden-frames, etc.. Inspector Lucas, of Reutlingen (Wiirtem- berg), has recommended the following coating: Take fresh cement of the best quality, which has been kept in a cool place, work it up with milk on a stone until it is of the consistency of oil paint. The wood designed to receive it must not be smooth, but left rough after_ sawing. Two or 3 coats are also a protection from fire. Wood to be tiius treated must be very dry. V. — Wood treated with creosote resists the attacks of marine animals, such as the teredo. Elm, beech, and fir absorb creo- sote very readily, provided the wood is sound and dry. Beechwood absorbs it the best. In fir the penetration is com- plete, when the wood is of a species of rapid growth, and of rather compact grain. Besides, with the aid of pressure it is always possible to force the creosote into the wood. Pieces of wood treated with creosote have resisted for 10 or 11 years under conditions in which oak wood not treated in this way would have been completely destroyed. The prepared wood must remain in store at least 6 months before use. The creosote becomes denser during this time and causes a greater cohesion in the fibers. In certain woods, as pitch pine, the injection is impossible, even under pressure, on account of the presence of rosin in the capillary vessels. VI. — M. Zironi advises heating the wood 778 WOOD in vacuo. The sap is eliminated in this way. Then the receiver is filled with rosm in solution with a hydrocarbide. The saturation takes place in two hours, when the liquid is allowed to run off, and a jet of vapor is introduced, which carries on the solvent, whole the rosin remains in the pores of the wood, increasing its weight considerably. VII. — Wood can be well preserved by impregnating it with a solution of tannate of ferric protoxide. This method is due to Hazfeld. ' VIII. — -The Hasselmann process (xyl- olized wood), which consists in immers- injj the wood in a saline solution kept boiling under moderate pressure, the liquid containing copper and iron sul- phates (20 per cent of the first and 80 per cent of the second), as well as aluminum and kainit, a substance until recently used only as a fertilizer, is now much employed on the railways in Ger- many. IX. — Recently the discovery has been made that wood may be preserved with dissolved betuline, a vegetable product of the consistency of paste, called also birchwood rosin. Betuline must first be dissolved. It is procurable in the crude state at a low price. The wood is im- mersed for about 12 hours in the solu- tion, at a temperature of from 57° to 60° F. After the first bath the wood is fjlunged into a second, formed of a solu- tion of pectic acid of 40° to 45° Be., and with a certain percentage of an alkaline carbonate — for instance, potas- sium carbonate of commerce — in the proportion of 1 part of carbonate to about 4 parts of the solution. The wood remains immersed in this composition for 12 hours; then it is taken out and drained from 8 to 15 hours, the time varying according to the nature of the wood and the temperature. In con- sequence of this second bath, the betulin which was introduced through the first immersion, is fixed in the interior of the mass. If it is desirable to make the wood more durable and to give it special qualities of density, hardness, and elasticity, it must be submitted to strong pressure. In thus supplementing the chemical with mechanical treatment, the best results are obtained. X.— A receiver of an^ form or dimen- sions is filled with a fluid whose boiling point is above 212° F., such as heavy tar oil, saline solutions, etc. This is kept at an intermediate temperature varying be- tween 213° F. and the boiling point; the latter will not be reached, but if into this liquid a piece of wood is plunged, an agitation analogous to boiling is mani- fested, produced by the water and sap contained in the pores of the wood. These, under the action of a temperature above 212° F., are dissolved into vapor and traverse the bath. If the wood is left immersed and a constant temperature maintained until every trace of agitation has disappeared, the water in the pores of the wood will be exjjelled, with the exception of a slight quantity, which, being in the form of vapor, represents only the seventeen- hundredth part of the original weight of the water contained; the air which was present in the pores having been likewise expelled. If the liquid is left to cool, this vapor is condensed, forming a vacuum, which is immediately filled under the action of the atmospheric pressure. In this way the wood is completely saturated by the contents of the bath, whatever may be its form, proportions or condensation. To attain the desired effect it is not necessary to employ heavy oils. The latter have, however, the advantage of leaving on the surface of the prepared pieces a kind of varnish, which con- tributes to protect them against mold, worms, moisture, and dry rot. The same phenomenon of penetration is produced when, without letting the wood grow cold in the bath, it is taken out and plunged immediately into a cold bath of the same or of a different fluid. This point is important, because it is possible to employ as fluids to be absorbed matters having a boiling point below 212° F., and differing in this respect from the first bath, which must be com- posed of a liquid having a boiling point above 212° P. If, instead of a cold bath of a homo- geneous nature, two liquids of different density separated in two layers, are em- ployed, the wood can, with necessary precautions, be immersed successively m them, so that it can be penetrated with given quantities of each. Such liquids are heavy tar oil and a solution of zinc chloride of 2° to 4° Be. The first, which IS denser, remains at the bottom ot the vessel, and the second above. If the wood is first immersed in a saline solution, it penetrates deep into the pores, and when finally the heavy oil is absorbed, the latter forms a superficial layer, which prevents the washing out of the saline solution m the interior, as well as the penetration of moisture from the out- side. WOOD 779 XI. — Numerous experiments have been made with all kinds of wood, even with hard oak. In the preparation of oak rail- way ties it was discovered that pieces subjected to a temperature of 212° F. in a bath of heavy tar oil for 4 hours lost from 6 to 7 per cent of their weight, represented by water and albuminous substances, and that they absorbed in heavy oil and zinc chloride enough to represent an increase of from 2 to 3 per cent on their natural original weight. The oak wood in question nad been cut for more than a year and was of a density of 1.04 to 1.07. This system offers the advantage of allowing the absorption of antiseptic liquids without any deformation of the constituent elements of the wood, the more as the operation is performed altogether in open vessels. Another advantage is the greater resistance of the wood to warping and bending, and to the extraction of metallic pieces, such as nails, cramp irons, etc. XII. — In the Kyanizing process sea- soned timber is soaked in a solution of bichloride of mercury (corrosive sub- limate) which coagulates the albumen. The solution is very poisonous and cor- rodes iron and steel, hence is unsuited for structural purposes in which metallic fastenings are used. The process is effective, but dangerous to the health of the workers employed. XIII. — The Wellhouse process also uses zinc chloride, but adds a small per- centage of glue. After the timber has been treated under pressure the zinc chlo- ride solution is drawn off and one of tannin is substituted. The tannin com- bines with the glue and forms an insolu- ble substance that effectually seals the pores. XIV. — ^The AUardyce process makes use of zinc chloride and dead oil of tar, the latter being applied last, and the manner of application being essentially the same for both as explained in the other processes. XV. — -The timber is boiled in a solu- tion of copper, iron, and aluminum sul- phate, to which a small quantity of kainit is added. XVI. — In the creo - rosinate process the timber is first subjected to a, steam- ing process at 200° F. to evaporate the moisture in the cells; the temperature is then gradually increased to 320° F. and a pressure of 80 pounds per square inch. The pressure is slowly reduced to 26 inches vacuum, and then a solution of dead oil of tar, melted rosin, and formal- dehyde is injected. After this process the timber is placed in another cylinder where a solution of milk of lime is ap- plied at a temperature of 150° F. and a pressure of 200 pounds per square inch. XVII. — The vulcanizing process of treating timber consists essentially in subjectmg it to a baking process in hot air which is heated to a temperature of about 500° F. by passing over steam coils. The heat coagulates the albumen, expels the water from the cells, kills the organisms therein, and seals the cells by transforming the sap into a preservative compound. This method is used with success by the elevated railway systems of several cities. XVIII. — A durable coating for wood is obtained by extracting petroleum asphalt, with light petroleum, benzine, or gasoline. For this purpose the asphalt, coarsely powdered, is digested for 1 to 2 days with benzine in well- closed vessels, at a moderately warm spot. Petroleum asphalt results when the distillation of petroleum continued until a glossy, firm, pulverizable mass of conchoidal fracture and resembling colophony in consistency remains. The benzine dissolves from this asphalt only a yellowish-brown dyestuff, which deeply enters the wood and protects it from the action of the weather, worms, dry rot, etc. The paint is not opaque, hence the wood retains its natural fiber. It is very pleasant to look at, because the wood treated with it keeps its natural appear- ance. The wood can be washed off with soap, and is especially suited for country and summer houses. XIX. — A liquid to preserve wood from mold and dry rot which destroys the albuminous matter of the wood and the organisms which feed on it, so there are neither germs nor food for them if there were any, is sold under the name of carbolineum. The specific gravity of a carbolineum should exceed 1.105, and should give the wood a fine brown color. It should, too, be perfectly waterproof. The three following recipes can be absolutely relied on: a. Heat together and mix thoroughly 95 pounds of coal-tar oil and 5 pounds of asphalt from coal tar. 6. Amalgamate together 30 pounds of heavy coal-tar oil, 60 pounds of crude wood-tar oil, and 25 pounds of heavy rosin oil. c. Mix thoroughly 3 pounds of asphalt, 25 pounds of heavy coal-tar oil, and 40 pounds of heavy rosin oil. XX. — Often the wooden portions of machines are so damaged by dampness prevailing in the shops that the follow- 780 WOOD ing compound will be found useful for their protection: Melt 375 parts of colo- phony in an iron vessel, and add 10,000 parts of tar, and 500 parts of sulphur. Color with brown ocner or any other ' coloring matter diluted with linseed oil. Make a first light application of this mix- ture while warm, and after drying apply a second coat. XXI.— For enameling vats, etc., 1,000 parts of brown shellac and 125 parts of colophony are melted in a spacious kettle. After the mass has cooled somewhat, but is still thinly lic^uid, 6.1 parts of alcohol (90 per cent) is gradually added. In order to prevent the ignition of the spirit vapor, the admixture of spirit is made at a. distance from the stove. By this ad- dition the shellac swells up into a semi- liquid mass, and a larger amount of en- amel is obtained than by dissolving it cold. The enamel may be used for wood or iron. The wood must be well dried; only then will the enamel penetrate into the pores. Two or three coats suffice to close up the pores of the wood thoroughly and to render the surface smooth and glossy. Each coating will harden perfectly in several hours. The covering endures a heat of 140° to 150° F. without injury. This glaze can also be mixed with earth colors. Drying quickly and being taste- less, its applications" are manifold. Mixed with ocher, for instance, it gives an elegant and durable floor varnish, which may safely be washed off with weak soda solution. If it is not essen- tial that the objects be provided with a smooth and glossy coating, only a preservation being aimed at the follow- ing coat is recommended by the same source: Thin, soluble glass (water glass) as it is found in commerce, with about 24 per cent of water, and paint the dry vessel rather hot with tnis solution. When this has been absorbed, repeat the application, allow to dry, and coat with a solution of about 1 paft of sodium bi- carbonate in 8 parts of water. In this coating silicic acid is separated by the carbonic acid of the bicarbonate; from the water glass (sodium silicate) ab- sorbed by the pores of the wood, which, as it were, silicifies the wooden surfaces, rendering them resistive against the penetration of liquids. The advantages claimed for both processes are increased durability and facilitated cleaning. XXII. — Tar paints, called also mineral or metallic paints, are sold in barrels or boxes, at varying prices. Some dealers color them — yellow ocher, red ocher, brown, gray, etc. They are prepared by mixing equal parts of coal tar and oil of turpentine or mineral essence (gasoline). The product, if it is not colored arti- ficially, is of a brilliant black, even when cold. It dries in a few hours, especially when prepared with oil of turpentine. The paints with mineral essence are, however, generally preferred, on account of their lower cost. Either should be spread on with a hard brush, in coats as thin as possible. They penetrate soft woods, and even semi-hard woods sufficiently deep, and preserve them completely. They adhere perfectly to metals. Their employment can, there- fore, be confidently advised, so far as concerns the preservation directly of iron cables, reservoirs, the interior surface of generators, etc. However, it has been shown that atmospheric influence or variations of temperature cause the formation of ammoniacal solutions, which corrode the metals. Several com- panies for the care and insurance of steam engines have for some time recommended the abandonment of tar products for applications of this Jkind and the substitution of hot linseed oil. XXIII. — Coal-tar paints are prepared according to various formulas. One in current use has coal tar for a base, with the addition of gum rosin. It is very black. Two thin coats give a fine brilliancy. It is employed on metals, iron, sheet iron, etc., as well aS on wood. It dries much quicker than the tars used separately. Its preserving influence against rust is very strong. The following Tissandier formula has afforded excellent results. Its facility of preparation and its low cost are among its advantages. Mix 10 parts of coal tar, 1 to 1.6 parts of slaked lime, 4,000 parts of oil of turpentine, and 400 parts of strong vinegar, in which i part of cupric sul- phate has been previously boiled. The addition of 2 or 3 cloves of garlic in the solution of cupric sulphate aids in pro- ducing a varnish, brilliant as well as permanent. The compound can be col- ored like ordinary paints. XXIV. — Rectified rosinous oil for painting must not be confounded with oils used in the preparation of lubricants for metallic surfaces exposed to friction. It contains a certain quantity of rosin in solution, which, on drying, fills the pores of the wood completely, and prevents de- composition from the action of various saprophytic fungi. It is well adapted to the preservation of pieces to be buried in the ground or exposed to the inclemency WOOD 781 of the weather. Paints can also be pre- pared with it by the addition of coloring powders, yellow, brown, red, green, blue, etc., in the proportion of 1 kilo to 5 liters of oil. The addition ought to take place slowly, while shaking, in order to obtain quite a homogeneous mixture. Paints of this kind are economical, in consequence of the low price of rosin, but they cannot be used in the interior of dwellings by reason of the strong and disagreeable odor disengaged, even a long time after their application. As an offset, they can be used like tar and carbonyl, for stalls, stables, etc. To Prevent Warping. — Immerse the wood to be worked upon in a con- centrated solution of sea salt for a week or so. Th-e wood thus prepared, after having been worked upon, will resist all changes of temperature. STAINS FOR WOOD. In the staining of wood it is not enough to know merely now to prepare and how to apply the various staming solutions; a rational exercise of the art of wood stain- ing demands r.ather a certain acquaint- ance with the varieties of wood to be operated upon, a knowledge of their separate relations to the individual stains themselves; for with one and the same stain very different effects are obtained when applied to the varying species of wood. Such a diversity of effects arises from tlfe varying chemical composition of wood. No unimportant role is played by the presence in greater or lesser quan- tities of tannin, which acts chemically upon many of the stains and forms with them various colored varnishes in the fibers. Two examples will sufBce to make this clear. (1) Let us take pine or fir, in which but little of the tanning principle is found, and stain it with a solution of 50 parts of potassium chro- mate in 1,000 parts of pure water; the result will be a plain pale yellow color, corresponding with the potassium chro- mate, which is not fast and as a con- .sequence is of no value. If, with the same solution, on the contrary, we stain oak, in which the tanning principle is very abundant, we obtain a_ beautiful yellowish-brown color which is capable of withstanding the effects of both light and air for some time; for the tannin of the oak combines with the penetrating potassium chromate to form a. brown dyestuff which deposits in the woody cells. A similar procedure occurs m the staining of mahogany and walnut with the chromate because these varieties of wood are very rich in tannin. (2) Take some of the same pine or fir and stain it with a solution of 20 parts of sulphate of iron in 1,000 parts of water and there will be no perceptible color. Apply this stain, however, to the oak and we get a beautiful light gray, and if the stain be painted with a brush on the smoother oaken board, in a short time a strong bluish-gray tint will appear. This effect of the stain is the result of the combination of the green vitriol with the tannin; the more tannin present, the darker the stain becomes. The hard- ness or density of the wood, too, exerts a marked influence upon the resulting stain. In a soft wood, having large pores, the stain not only sinks further in, but much more of it is required than in a hard dense wood; hence in the first place a stronger, greasier stain will be obtained with the same solution than in the latter. From this we learn that in soft woods it is more advisable to use a thinner stain to arrive at a certain tone; while the solution may be made thicker or stronger for hard woods. The same formula or the same stain- ing solution cannot be relied upon to give the same results at all times even when applied to the same kinds of wood. A greater or lesser amount of rosin or sap in the wood at the time the tree is felled, will offer more or less resistance to the permeating tendencies of the stain, so that the color may be at one time much lighter, at another darker. Much after the same manner we find that the amount of the tanning principle is not always equal in the same species of wood. Here much depends upon the age of the tree as well as upon the climatic conditions surrounding the place where it grew. Moreover, the fundamental color of the wood itself may vary greatly in examples of the same species and thus, particularly in light, delicate shades cause an important delay in the realiza- tion of the final color tone. Because of this diversification, not only in the different species of wood, but even in separate specimens of the same species, it IS almost impossible always, ana at the first attempt, to match a certain pre- determined color. It is desirable that trials at staining should first be made upon pieces of board from the same wood as the object to be stained; the results of such ex- periments furnishing i exact data con- cerning the strength and composition of the stain to be employed for the exact reproduction of a prescribed color. 782 WOOD Many cases occur in which the color tone obtained by staining cannot always be i'udged directly after applying the stain, ilspecially is tnis the case when stain is employed which slowly develops under the action of the air or when the dye- stuff penetrates only slowly into the pores of the wood. In such cases the effect of the staining may only be fully and completely appreciated after the lapse of 24N)r 48 hours. Wood that has been stained should always be allowed 24 or 48 hours to dry in ordinary temperatures, before a coat of varnish, polish, or wax is applied. If any dampness be left in the wood this will make itself apparent upon the varnish or polish. It will become dull, lose its glossy appearance, and exhibit white spots which can only be removed with difficulty. If a certain effect de- mand the application of two or more stains one upon the other, this may only be done by affording each distinct coat time to dry, which requires at least 24 hours. Not all the dyes, which are applicable to wood staining, can be profitably used together, either when separately applied or mixed. , This injunction is to be care- fully noted in the application of coal tar or aniline colors. Among the aniline dyes suitable for staining woods are two groups — the so- called acid dyes and the basic dyes. If a solution of an acid dye be mixed with a basic d^e the effect of their antagonistic dispositions is shown in the clouding up of the stain, a fine precipitate is visible and often a rosin-like separation is noticeable. It is needless to say tha-t such a stain- ing solution is useless for any practical purpose. It cannot penetrate tne wood fibers and would present but an un- seemly and for the -most part a flaky appearance. In preparing the stains it is therefore of the greatest importance that they remain lastingly clear. It would be considerably of advantage, before mixing aniline solutions of which the acid or basic characteristics are un- known, to make a test on a small scale in a champagne glass and after standing a short time carefully examine the solu- tion. If it has become cloudy or want- ing in transparency it is a sign that a separation of the coloring matter has taken place. The mixing of acid or basic dyestuffs even in dry powdered form is attended with the same disadvantages as in the state of solubility, for just as soon as they are dissolved in water the reactions commence and the natural process of precipitation takes place with all its attending disagreeable consequences. COLOR STAINS: Bronze. — I. — Prepare first a thin glue size by soakipg good animal glue over night in cold water and melting it next morning in the usual water bath. Strain it, before using, through old linen or cheese cloth into a clean vessel. Sand- paper smooth and dust the articles, then apply with a soft bristle brush 2 or 3 coats of the size, allowing sufficient time for each coat to harden before applying the next. Now, a. ground coat made by thoroughly mixing finely bolted gilders' whiting and glue size is applied, and when this has become hard it is rubbed to a smooth, even surface with selected fine pumice, and then given 1 coat of thin copal varnish. When this is nearly but not quite dry, the bronze powder is applied with a suitable brush or wad of cotton, and when dry the surplus bronze is removed with the same tool. If col- lected on clean paper, the dusted-off bronze powder may be used again. II. — Diluted water - glass solution makes a good ground for bronze. Bronze powder is sprinkled on from a wide-necked glass tied up with gauze, and the excess removed by gently knock- ing. The bronze powder adheres so firmly after drying that a polish may be put on by means of an agate. The process is especially useful for repairing worn-off picture frames, book ornamen- tations, etc. The following bronze ground also yields good results: Boil 11,000 parts of linseed oil with 25 parts of im- pure zinc carbonate, 100 parts of red lead, 25 parts of litharge, and 0.3 parts of mercuric chloride, until a drop taken out will stand like a pea upon a glass surface. Before complete cooling, the mass is diluted with oil of turpentine to a thick syrup. _ Ebony Stains.— I.— To 1 pint of boil- ing water add f ounce of copperas and 1 ounce logwood chips. Apply this to the wood hot. When the surface has dried thoroughly wet it with a solution composed of 7 ounces steel filings dis- solved in i pint of vinegar. . II- — Give the wood several applica- tions of a stout decoction of logwood chips, finishing off with a free smear of vinegar in which rusty nails have been for some time submerged. III. — In 1 quart of water boil J pound of logwood chips, subsequently adding J ounce pearl ash, applying the mixture WOOD 783 'hoi. Then again boil the same quantity of logwood in the same quantity ot water, adding J ounce of verdigris and J ounce of copperas, after which strain and put in J pound of rusty steel filings. With this latter mixture coat the work, and, should the wood not be sufBciently black, repeat the application. Metallic Luster. — A valuable process to impart the luster of metal to ordinary wood, without injuring its natural quali- ties, is as follows: The wood is laid, ac- cording to its weight, for 3 or 4 days in a caustic alkaline solution, such as, for instance, of calcined soda, at a tempera- ture of 170° P. Then it is at once placed in a bath of calcium hydrosulphite, to which, after 24 to 36 hours, a saturated solution of sulphur in caustic potash is added. In this mixture the wood is left for 48 hours at 100° to 120° F. The wood thus prepared, after having been dried at a moderate temperature, is polished by means of a smoothing iron, and the surface assumes a very hand- some metallic luster. The effect of this metallic gloss is still more pleasing if the wood is rubbed with a piece of lead, zinc, or tin. If it is subsequently polished with a burnisher of glass of porcelain, the wood gains the brilliancy of a metallic mirror. Nutwood. — One part permanganate of potassium is dissolved in 30 parts clear water; with this the wood to be stained is coated twice. After an action of 5 minutes, rinse off with water, dry, oil, and polish. It is best to prepare a fresh solution each time. Oak. — I. — Water-color stains do not penetrate deep enough into wood to make the effect strong enough, hence solutions of other material than color are being employed for the purpose. Aqua ammonia alone, applied with a rag or brush repeatedly, will darken the color of oak to a weathered effect, but it is not very desirable, because of its tendency to raise the grain. Bichromate of potash, dissolved in cold water, applied in a like manner, until the desired depth is ob- tained, will serve the purpose. These washes or solutions, however, do not give the dark, almost black, effect that is at the present time expected for weathered oak, and in order to produce this, 4 ounces of logwood chips and 3 ounces of green copperas should be boiled together in 2 quarts of water for 40 minutes and the solution applied hot. When this has dried it should be gone over with a wash made from 4 ounces steel filings and 1 pint of strong vinegar. The steel filings are previously put into the vinegar and allowed to stand for several days. This will penetrate into the wood deeply, and the stain will be permanent. Picture- frame manufacturers use a quick-drying stain, made from aniline blacks. II. — Dissolve J part of permanganate of potassium in 1,000 parts of cold water and paint the wood with the violet solu- tion obtained. As soon as the solution comes in contact with the wood it de- composes in consequence of chemical action, and a handsome light - brown precipitate is produced in the wood. The Drushes used must be washed out immediately, as the permanganate of potassium destroys animal bristles, but it is preferable to use sponges or brushes of glass threads for staining. Boil 2 garts of cutch in 6 parts of water for 1 our, stir while boiling, so that the rosiniferous catechu cannot burn on the bottom of the vessel; strain the liquid as soon as the cutch is dissolved, through linen, and bring again to a boil. Now dissolve therein ^ part of alum, free from iron; apply the stain while hot, and cover after the drying, with a solution of 1 part of bichromate of potassium in 25 parts of water. Rosewoood. — First procure J pound logwood, boiling it in 3 pints water. Continue the boiling until the liquid assumes a very dark color, at which point add 1 ounce salt of tartar. When at the boiling point stain your wood with 2 or 3 coats, but not in quick succession, as the latest coat must be nearly dry before the succeeding one is applied. The use of a fiat graining brush, deftly handled, will produce a very excellent imitation of dark rosewood. Silver Gray. — This stain is prepared by dissolving 1 part of pyrogallic acid in 25 parts of warm water and the wood is coated with this. Allow this coating to dry and prepare, meanwhile, a solution of 2 parts of green vitriol in 50 parts of boiling water, with which the first coat- ing is covered again to obtain the silver- gray shade. Walnut. — I. — Prepare a solution of 6 ounces of a solution of permanganate of potassium, and 6 ounces of sulphate of magnesia in 2 quarts of hot water. The solution is applied on the wood with a brush and the application should be re- peated once. In contact with the wood the permanganate decomposes, and a handsome, lasting walnut color results, if small pieces of wood are to be thus stained, a very dilute bath is prepared 784 WOOD according tc the above description, then the wooden pieces are immersed and left therein from 1 to 5 minutes, according to whether a lighter or darker coloring is desired. II. — One hundredweight Vandyke brown, ground fine in water, and 28 pounds of soda, dissolved in hot water, are mixed while the solutions are hot in a revolving mixer. The mixture is then dried in sheet-iron trays. Yellow. — The wood is coated with a hot concentrated solution of picric acid, dried, and polished. (Picric acid is poi- sonous.) IMITATION STAINS. Yellow, green, blue, or gray staining on wood can be easily imitated with a little glazing color in oil or vinegar, which will prove better and more permanent than the staining. If the pores of the wood are opened by a, lye or a salt, almost any diluted color can be worked into it. With most stains the surface is thus prepared previously. Light-Fast Stains. — Stains fast to light are obtained by saturating wood in a vacuum chamber, first with dilute sul- phuric acid, then with dilute alkali to neutralize the acid, and finally with a solution with or without the addition of a mordant. The action of the acid is to increase the affinity of the wood for dye very materially. As wood consists largely of cellulose, mercerization, which Always increases the affinity of that sub- stance for dyes, may be caused to some extent by the acid. SPIRIT STAINS: Black.— I. — White shellac 12 ounces Vegetable black 6 ounces Methylated spirit. ... 3 pints II. — Lampblack 1 pound Ground iron scale.. . . 5 pounds Vinegar 1 gallon Mahogany Brown. — Put into a vessel, say 4 pounds of bichromate of potash, and as many ounces of burnt umber, let it stand a day or two, then strain or lawn for use. Vandyke Brown. — Spirit of wine 2 pints Burnt umber 3 ounces Vandyke brown color 1 ounce Carbonate of soda ... 1 ounce Potash J ounce Mahogany. — Rub the wood with a solution of nitrous acid, and then apply with a brush the following: I. — Dragon's blood 1 ounce Sodium carbonate. . . 6 drachms Alcohol 20 ounces Filter just before use. II. — Rub the wood with a solution of potassium carbonate, 1 drachm to a pint of water, and then apply a dye made by boiling together: Madder 2 ounces Logwood chips J ounce Water 1 quart Maple. — I. — Pale button lac 3 pounds Bismarck brown.. . . J ounce Vandyke brown. ... \ ounce Gamboge 4 ounces Methylated spirit. . . 1 gallon II. — Use 1 gallon of methylated spirit, 4 ounces gamooge (powdered), J ounce Vandyke brown, 1 drachm Bismarck brown, 3 pounds shellac. Maroon. — -To produce a rich maroon or ruby, steep red" Janders wood in rectified naphtna and stir into the solu- tion a little cochineal; strain or lawn for use. Turpentine Stains. — Turpentine stains are chiefly solutions of oil-soluble coal- tar dyes in turpentine oil, with small quantities of wax also in solution. They do not roughen the wood, making a final polishing unnecessary. They enter the wood slowly, so that an even stain, especially on large surfaces, is secured. The disadvantages of turpentine stains are the lack of permanence of the color- ing, when exposed to light and air, and their high price. yarnish Stains. — Shellac is the chief article forming the basis of varnish stains the coloring matter being usually coal tar or aniline dyes, as they give better results than dye wood tincture. To prevent the varnish stain being too brittle, the addition of elemi rosin is a much better one than common rosin, as the latter retards the drying quality, and if too much be used, renders the stain sticky. Water Stains. — Water stains are solu- tions of chemicals, dve extracts, astrin- gent substances, and coal-tar dyes in water. They roughen the wood, a dis- advantage, however, which can be rem- edied to a large extent by previous treatment, as follows: The wood is mois- tened with a wet sponge, allowed to dry. WOOD 785 and then rubbed with sandpaper, or made smooth by other agencies. This almost entirely prevents roughening of the surface by the stain. Another dis- advantage of these stains is that they are rapidly absorbed by the wood, which makes an even stainmg of large surfaces difficult. For this too there is a remedy. The surface of the wood is rubbed all over evenly with raw linseed oil, applied with a woolen cloth, allowed to dry, and then thoroughly smoothed with sand- paper. The water stain, applied with a sponge, now spreads evenly, and is but slightly absorbed by the wood. Among good water stains are the long- known Cassel brown and nut brown, in granules. Catechine is recommended for brown shades, with tannin or pyro- fallic acid and green vitriol for gray, 'or bright-colored stains the tar-dyes azine green, croceine scarlet, Parisian red, tartrazine, water-soluble nigrosin, walnut, and oak brown are very suitable. With proper mixing of these dyes, all colors except blue and violet can be produced, and prove very fast to light and air, and superior to turpentine stains. Only the blue and violet dyes, methyl blue, naphthol blue, and pure violet, do not come up to the standard, and require a second staining with tannin. A very simple method of preparing water stains is as follows: Solutions are made of the dyes most used, by dissolving 500 parts of the dye in 10,000 parts of hot water, and these are kept in bottles or casks. Any desired stain can be prepared by mixing proper quantities of the solutions, which can be diluted with water to make lighter stains. Stains for Wood Attacked by Alkalies or Acids. — Solution A Copper sulphate. . . 125 grams Potassium chlorate. 126 grams Water 1,00D cu. cm. Boil until all is dissolved. Solution B Aniline hydro- chloride 150 grams Water 1,000 cu. cm. Apply Solution A twice by means of a brusn, allowing time to dry after each coat; next, put on Solution B and let dry again. On the day following, rub on a little oil with a cloth and repeat this once a, month. SUBSTITUTES FOR WOOD. I. — Acetic paraldehyde or acetic alde- hyde respectively, or polymerized formal- dehyde is mixed with methylic alcohol and carbolic acid, as well as fusel oil saturated with hydrochloric acid gas or sulphuric acid gas or methylic alcohol, respectively, are added to the mixture. The mass thus obtained is treated with paraffine. The final product is useful as a substitute for ebonite and wood as well as for insulating purposes. II. — "Carton Pierre" is the name of a mass which is used as a substitute for carved wood. It is prepared in the fol- lowing manner: Glue is dissolved and boiled; to this, tissue paper in suitable quantity is added, which will readily go to pieces. Then linseed oil is added, and finally chalk is stirred in. The hot mass forms a thick dough which crumbles in the cold, but softens between the fingers and becomes kneadable, so that it can be pressed into molds (of glue, gypsum, and sulphur). After a few days the mass will become dry and almost as hard as stone. The paper imparts to it a high degree of firmness, and it is less apt to be injured than wood. It binds well and readily adheres to wood. III.— Wood Pulp.— The boards for painters' utensils are manufactured in the following manner: The ordinary wood fiber (not the chemical wood cellu- lose) is well mixed with soluble glass of 33° Be., then spread like cake upon an even^surface, and beaten or rolled until smooth. Before completely dry, the cake is removed, faintly satined (for various other purposes it is embossed) and finally dried thoroughly at a temperature of about 133° F., whereupon the mass may be sawed, carved, polished, etc., like wood. Any desited wood colbr can be ob- tained by the admixture of the cor- responding pulverized pigment to the mass. The wood veining is produced by placing a board of the species of timber to be imitated, in vinegar, which causes the soft parts of the wood to deepen, and making an impression with the original board thus treated upon the wood pulp when the latter is not quite hard. By means of one of these original boards (with the veins embossed), im- pressions can be made upon a large number of artificial wood plates. The veins will show to a, greater advantage if the artificial wood is subsequently saturated and treated with colored oil, colored stain and colored polish, as is done with palettes. WOOD, ACID-PROOF: See Acid-Proofing. WOOD CEMENTS: See Adhesives. 786 WRITING— YEAST WOOD, CHLORINE-PROOFING: See Acid-Proofing. WOOD, FIREPROOFING : See Fireproofing. WOOD GILDING: See Plating. WOOD, IMITATION: See Plaster. WOOD PpLISHES: See Polishes. WOOD RENOVATORS: See Cleaning Preparations and Meth- ods under Paint, Varnish, and Enamel Removers. WOOD, SECURING METALS TO: See Adhesives. WOOD, WATERPROOFING: See Waterproofing. WOOD'S METAL: See Alloys. WOOL FAT: See Fats. WORM POWDER FOR STOCK: See Veterinary Formulas. WRITING, RESTORING FADED: Writing on old manuscripts, parch- ments, and old letters that has faded into nearly or complete invisibility can be restored by rubbing over it a solution of ammonium sulphide, hydrogen sulphide or of "liver of sulphur." On parchment the restored color is fairly permanent but on paper it does not last long. The let- ters however could be easily retraced, after such treatment, by the use of India ink and thus made permanent. This treatment will not restore faded aniline ink. It only works with ink containing a metal-like iron that forms a black sul- phide. WRINKLES, REMOVAL OF: See Cosmetics. Yeast DRY YEAST. Boil together for J hour, 95 parts of the finest, grated hops and 4,000 parts of water. Strain. Add to the warm liquor 1,750 parts of rye meal or flour. When the temperature has fallen to that of the room add 167 parts of good yeast. On the following day the mass will be in a state of fermentation. While it is in this condition add 4,000 parts of barley flour, so as to form a dough. This dough is cut up into thin disks, which are dried as rapidly as possible in the open air or sun. For use, the disks are broken into small pieces and soaked overnight in warm water. The yeast can be used on the fol- lowing day as if it were ordinary brewers' yeast. PRESERVATION OF YEAST. I. — The yeast is laid in a vessel of cold water which is thereupon placed in a well-ventilated, cool spot. In this man- ner the yeast can be preserved for several weeks. In order to preserve the yeast for several months a different process must be followed. The yeast, after having been pressed, is thoroughly dried. For this purpose the yeast is cut up into small pieces which are rolled out, placed on blotting paper, and allowed to dry in a place which is not reached by the sun. These rolls are then grated, again dried, and finally placed in glass bottles. For use, the yeast is dissolved, whereupon it immediately regains its freshness. This process is particularly to be recommend- ed because it preserves the yeast for a long period. II. — For liquid yeast add one-eighth of its volume in glycerine. In the case of compressed yeast, the cakes are to be covered with glycerine and kept in closed vessels. Another method of pre- serving compressed yeast is to mix it intimately with animal charcoal to a dough, which is to be dried by exposure to sunlight. When it is to be used, it is treated with water, which will take up the ferment matter, while the charcoal will be deposited. Liquid and com- pressed yeast have been kept for a con- siderable time, without alteration, by saturating the former with chloroform and keeping the latter under chloroform water. YEAST TESTS. I- — Pout a few drops of yeast into boiling water. If the yeast sinks, it is spoiled; if it floats, it is good. II- — To 1 pound yeast add Jtablespoon- ful of corn whisky or brandy, a pinch of sugar, and 2 tablespoonfuls of wheat flour. Mix thoroughly and allow the re- sultant compound to stand in a warm place. If the yeast is good it will rise in about an hour. YEAST AND FERTILIZERS: See Fertilizers. YELLOW (CHROME), TEST FOR: See Pigments. INDEX Absinthe, 765 Absolute Alcohol, 45 Abrasion Remedy, 225, 486 Acacia, Mucilage of, 43 Acid-free Soldering Fluid, 659 Acid-proof Alloy, 62 Cement, 26 Corks, 10 Glass, 374 Acid-proofing, 9 Acid-proof Pastes, 38 Putty, 607 Table Top, 9 Acid Receptacles, Lining for, 10 Acid-resisting Paint, 499 Acids, Soldering, 656 Acid Stains Removed, 184 Test for Gold, 432 for Vinegar. 358 Aconite-Monkshood Poison, 93 Adhesion, 105 Belt Pastes for Increasing, 105 Adhesive Paste, 37, 39 v-Adhesives, 10 Advertising Matter, to Scent, 510 Adulterants in Foods, 348 Adulteration of Linseed Oil, 460 of Wax, 753 Adurol Developer, 527 Affixing Labels to Glass, 42 Agar Agar Paste, 37 Agate, Buttons of Artificial, 44 Agate (Imitation), 370 Age of Eggs, 283 Aging of Silk, 639 Agricultural Sources of Industrial Alcohol, 668 Air Bath, 44 Bubbles in Gelatine, 370 Exclusion of, 553 Air-purifying, 44 Albata Metal, 63 Albumen, 34 in Urine, Detection of, 44 Paste, 37 Alcohol, 44 Absolute, 45 Defined, 667 Deodorized, 45, 514 Dilution of, 45, 703 in Beer, 45 Manufacture, 667, 674 SoHd, 45 Tests for Absolute, 45 Ale, 46 Ginger, 107 Alfenide Metal, 63 Alkali Blue and Nicholson's Blue Dye, 267 Alkalis and Their Salts Poison, 93 Alkaline Glycerine of Thymol, 100 Alkaloids, Antidotes to, 102 Alkermes Cordial, 763 Alloy, Acid-proof, 62 for Caliper and Gage-rod Cast- ings, 80 for "Watch Pinion Sockets, 736 Lipowitz's, 61 Moussets', 76 Alloys, 47 Copper, Silver, Cadmium, 76 for Casting Coins, etc., 62 for Cementing Glass, 62 for Drawing Colors on Steel, 80 for Metal Foil, 474 for Small Casting Molds, 80 having a Density, 48 Silver, Nickel, Zinc, 76 Tin, 77 Unclassified, 80 Almond Blossom Perfumery, 518 Cold Cream, 235 Extracts, 312 Powders for the Toilet, 242 Altars, to Clean, 185 Alum, 80 . Baking Powder, 102 Bath, 535 Process of Water Purification, 340 Aluminum Alloys, 48 Electrical Conductivity of, 50 Aluminum-brass, 50 Alumintun Bronze, 56, 657 Castings, 150 Aluminimi-Copjper, 50 Aluminum Gilding, 576 Gold, 68 Etching Fluid for, 324 How to Color, 80 Lacquer for, 438 Paper, 507 Plating, 572, 581 Polishes, 590 Aluminum-Silver, 50, 75 Alimiinum Solders, 657 Aluminum-Tin, 50 Aluminum, to Clean, 204 Toughness, Density and Te- nacity, 83 Aluminum-Tungsten, 50 Aluminum Varnish, 725 Working of Sheet, 83 Almninum-Zinc, 50 Amalgam for Cementing Glass, etc., 90 for Plaster, 65 for Silvering Glass Balls, 90 for the Rubber of Electric Machines, 90 Gold Plating, 576 Amalgams, 64, 85 for Mirrors, 72 Amber, 90 Cements, 26 Varnish, 718 Ambrosia Powder, 628 American Champagne, 118 Factory Cheese, 176 Lemonade, 110 Soda Fountain Company's Whipped Cream, 248 Amethyst (Imitation), 370 Amidol Developer, 623 Ammon-carbonite, 331 Ammonia, 91 for Fixing Prints, 636 Household, 91 Poison, 93 Violet Color for. 91 Water, 245, 519 Perfumed, 91 Anchovies, Essence of, 98 787 Anchovy Paste, 98 Prefiarations, 98 Sauce, Extemporaneous, 98 Angostura Bitters, 762 Anise Cordial, 763 Aniline, 266 Black Dye, 266, 279 Substitutes, 279 Black Lake Dye, 278 Blue Dye, 268 Green Dye for Wool, 269 for Silk, 269 in Pigments, Tests for, 560 Scarlet Dye, 271 Stains, to Remove, 185 YeUow Dye, 271 Animals, Fly Protection for, 419 Ankara, 142 Annealing Bronze, 56 Copper, 219 Annealing of Steel, Wire, etc.; 681 Anodynes, 486 Ansco Platinum Paper, 529 Ant Destroyers, 420 Anti-corrosive or Asiatic Ink, 414 Antidotes for Belladonna, 93 for Poisons, 92 Anti-ferments, 97 Anti-fouling Compositions, 498 Anti-freezing Solution, 362, 363 for Automobilists, 363 Anti-friction Bearing or Babbitt Metals, 50 Metal, 58 Anti-frost Solution, 363 Anti-leak Rubber Tire, 708 Antimony Poison, 93 Baths, 581 Antique Bronzes, 566 Silver, 587, 639 Imitation of, 640 Antiques, to Preserve, 98 Anti-rust Compositions, 625 Paper for Needles, 625 Pastes, 625 Antiseptic Bromine Solution, 100 Enamel, 720 Nervine Ointment, 487 Oil of Cinnamon, 100 Paste (Poison), 99 Pencils, 99 Powders, 98 Soap, 644 Solution, Coloring for, 100 Tooth Powder, 253 Antiseptics, 98 for Caged Birds, 729 Mouth, 99 Aphtite, 70 Apollinaris Lemonade, 110 Water, 740 Apple Extract, 312 Syrup, 312 Applications for Prickly Heat, 39S of Barium Amalgams, 86 of Bismuth Amalgams, 88 of Cadmium Amalgams, 87 of Copper Amalgams, 87 of (jrold Amalgams, 89 of Lead Amalgams, 88 of Manganese Amalgams, 87 788 INDEX Applications of Potassilim Amal- gams, 86 of Silver Amalgams, 88 of Sodium Amalgams, 86 of Strontimn Amalgams, 86 of Tin Amalgams, 87 of Zinc Amalgams, 87 Applying Decalcomania Pictures, 250 Apricot Extract, 312 Aquarium Putty, 608 Argentan, 69 Arguzoid, 70 Armenian Cement, 20 Arms, Oil for, 460 Arnica Salve, 486 Aromatic Cod-Liver Oil, 482 Cotton, 246 Rhubarb Remedy, 180 Vinegar, 735 Arsenic Alloys, 63, 75 Arsenic Poison, 93, 614 Art Bronzes, 57, 556 of Lacquering, 437 Artificial Aging of Fabrics, 639 Beeswax, 754 Butter, 142 Ciders, 181 Coloring of Flowers, 346 Egg OU, 284 Fertilizers for Pot Plants, 336 Flowers, Dyes for, 272 Flower Fertilizer, 337 Horn, 396 Leather, 447 Marbles, 699 Rubber, 618 "Rubbered" Silk, 639 Slate, 643 Violet Perfumery, 518 Water, 739 Asbestos Cement, 30 Fabric, 342 Asphalt and Pitch, 33 as Ingredient of Rubber, 619 in Painting, 718 Varnishes, 718 Assaying of Gold, 381 Asthma Cures, 101 Fumigating Powders, 101 in Canaries, 728 Papers, 101 Astringent for Horses, 730 Wash tor Flabby Skin, 234 Atomic Weights, 758 Atomizer Liquid for Sick Rooms, 264 Attaching Enamel Letters to Glass, 19 by Cement, 17 Atropine, Antidote tp, 102 Aqua Aromatica, 102 Fortis for the Touchstone, 383 Poison, 92 Regia, 102 Aquarium Cements, 31 Automobile Engines,' Cooling, 363 Automobiles, Anti-freezing Solu- tion, 363 Axle Grease, 462 B Babbitt-Metals, 50 Baking Powders, 102 Balance Spring, 738 Baldness, 392 Balkan Paste, 38 Ball Blue, 281, 444 Bail-Room Floor Powder, 34S Balsam, Birch, 103 of Sulphur, 380 Spray Solution, 103 Balsam, Stains, to Remove, 194 Wild-cherry, 103 Balsams, 102 Balsamic Cough Syrup, 211 Banana Bronzing Solution, 489 Cream, 115 Trick, the Burning, 611 Sjrrup, 312 Banjo Sour, 110 Barbers' Itch, 486 Powder, 243 Barium Amalgams, 86 Poison, 615 Barometers (Paper), 402 Bath, Air, 44 Metal, 63 Powder, 242 Tablets, Effervescent, 103 Bath-tub Enamel, 721 Paint, 501 Batteries, Solution for, 104 Basis for Effervescent Salts, 627 Baudoin Metal, 63 Bavaroise au Cognac, 118 Bay Rum, 104, 513 Bear Fat, 333 Bearibg Lubricant, 461 Metal, 50 Beauty Cre»m, 231 Water, 244 Bedbug Destroyers, 420 Beechwood Furniture Polish, 593 Beef and Iron, 771 Iron, and Wine, 104 Beef-marrow Pomade, 227 Beef Peptoffioids, 509 Preservatives, 360 Tea, 112 Bepr, 118 Ginger, 108 JCiemon, 108 Restoration of^Spoiled, 105 Spruce, 119 Treacle, 119 Weiss, 119 Beers, Alcohol in, 45 Beetle Powder, 425 Bees, Foul Brood in, 105 Beeswax, Artificial, 754 Belladonna, Antidotes to, 93 BeU Metal, 51 Belt Cement, 31 Glue, 15 Lubricant, 462 Pastes for Increasing Adhesion, 105 Bdnddictine, 769 Bengal Lights, 609 Bent Glass, 371 Benzine, 106 Cleaning with, 209 Purification of, 106 to Color Green, 106 Benzoic Acid, Detection of, 350 in Food, 350 Benzoic-acid Pastilles, 211 Benzoin-Glycerine Soap, 652 Benzoparal, 107 Berge's Blasting Powder, 330 Beverages, 107 Yellow Coloiing tor, 119 Bibra Alloy, 71 Bicycle Dipping Varnish, 719 Bicycle-tire Cement, 23 Bicycle Varnishes, 719 Bicycles, Black Paint for, 495 Bidery Metal, 80 BiUiard Balls, 148, 428 Birch Balsam, 103 Birch-Bud Water, 519 Birch Water, 244, 389 Bird Diseases, Remedies. 728 Foods, 120, 729 Bird Lime, 468 ' Paste, 145 Tonic, 729 Birds, Antiseptic Wash for, 729 Constipation in, 729 Diarrhcea in, 729 Biscuit, Dog, 265 Bismarck Brown Dye, 267 Bismuth, 49 Alloys, 52 Amalgams, Applications of, 88 Bronze, 70 Purification of, 380 to Purify, 380 Biting Off Red-hot Iron, 612 Bitter Almond Oil Poison, 93 Bitters, 762 Blackberry Cholera Mixture, 180 Cordial, 763 Blackboard Paint and Varnish, 489 Varnish, 720 Black Color on Brass, 129 Dye for Tanned Leather, 447 on Cotton, 286 on Wool, for Mixtures, 267 Blackening Iron, 495 "Black Eye" Lotion, 333 Black Finish for Brass, 129 Grease Paints, 229 Hair Dye without Silver, 390 Blackhead Remedies, 232 Blacking Copper, 221 for Harness, 450 for Shoes, 631 Stove, 700 Black Japanese Varnish, 719 Lake Dyes for Wall-paper, 278 Marble, Imitation, 699 Marking Inks, 407 Paint for Polished Iron, 495 Patina, 585 Putty, 607 Ruling Ink, 403 Sheet Rust Preventive, 624 Starch, 680 Straw Hat Varnish, 266 Varnish, 543, 544, 719 Wash tor Casting Molds, ISO Blanching Silver, 640 Blanket Washing, 399 Blasting Powder, 330 Blazing Sponge Trick, 611 Bleach for Hands, 233 Bleaches, Bone, 430 Bleaching, 120 and Coloring Feathers, 335 Bone Fat, 333 Cotton by Steaming, 245 Cotton, 245 Feathers, 121, 335 Linen, 120 of Linseed -Oil, 459 of Vegetable Fibers with Hy- drogen Peroxide, 245 Oils, 484 Photographic Prints White, 553 Silk, 120, 639 SMn Salves, 234 Solution, 121 tor Photographs, 553 Solutions tor the Laundry, 446 Sponges, 678 Straw, 120 Tallows and Fats, 334 Wool, 120 Bleeding, Local, 701 Blight Remedies, 121 Blisters, tor Horses, 729 Block for Soldering, 667 Hollow Concrete Building, 691 Machines, 694 Blocks Poured from Wet Con- crete, 694 Bood-red Brick Stain, 166 INDEX 789 Blotting Paper, S03 Blue, Ball, 281 Blue-blaok Ink, 414 Patina, 585 Blue Bronze, 138 Dye for Hosiery, 268 from Green at Night, 121 Indelible Ink, 406 Paving Bricks, 166 Blueprint Inks, 403 Paper Making, 536 Blueprints, to Change, 121 to Turn Brown, 642 Waterproofing, 741 Blue Ruling Ink, 403 Sanitaiy Powder, 263 Vitriol Poison, 94 Bluing, 443 Compounds, 443 of Steel, 682 Bluish-black Lake Dye, 278 Blush Pink Dye on Cotton Tex- tile, 279 Board-sizing, 33 Boiled Oil, 484 Boiler Compounds, 121 Plates, Protecting from Scales, 122 Pressure, 123 Scales, Prevention of, 122 Boiling the Linseed Oil, 409 Boil Remedy, 121 Bone Black, 123 Bleaches, 430 Fat, 333 Fertilizers, 338 or Ivory Black, 123 Polishes, 395 Uniting Glass With, 17 Bones, A Test for Broken, 124 Treatment of, in Manufactur- ing Glue, 10 Bookbinders' Varnish, 720 Book Disinfectant, 263 How to Open, 125 Bookworms, 425 Books, their Preservation, 124 to Remove Marks from, 186 Boot Dressings, 631 Lubricant,"460 Boot-top Liquid, 632 Boots, Waterproofing, 750 Borated Apple Blossom Powder, 243 Talcum, 510 Borax in Food, 350 for Sprinkling, 125 Soap Powder, 650 Boric Acid, Detection of, 350 Borotonic, 258 Bottling Sweet Cider, 181 Bottle-cap Lacquer, 440 Bottle-Capping Mixtures, 126 Bottle Cleaners, 210 Deodorizer, 127 Stoppers, 700 Varmsh, 720 Wax, 553 Bottles, 126 White Glass for, 373 Bouillon, 113 Chicken, 112 Clam, 113 Hot Egg, 112 Tomato Extract, 212 Bowls of Fire Trick, 611 Box Glue, 15 Bradley Platinum Paper, 529 "Braga," 117 Bran, Sawdust in, 126 Brandy, Artificial French, 768 and Brandy Bitters, 762 Brass, 127, 435 A Bronze for, 136 Brass and Bronze Protective Paint, 495 Articles, Restoration of, 132 Black Color on, 129 Black Finish for, 129 Bronzing, 566 Brown Color to, 130 Cleaners, 202, 203 Coloring, 129, 473 Colors for Polished, 127 Etching Bath for, 324 Fluid tor, 323 Fastening Porcelain to, 17 Gilding, 676 Graining of, 130 Brass-Iron (Aich's Metal), 53 Brass Parts, Improved, 132 Pickle for, 132 Platinizing, 566 Polishes, 690 Sand Holes in, 150 Solders, 657 to Cast Yellow, 54 Tombac Color on, 130 Unpolished Coloring, 128 Varnishes Imitating Gold, 725 Brassing, 672,. 581 Zinc, Steel, Cast Iron, 581 Brassware, Gold Lacquers for, 440 Bread, Dog. 265 Breath, Fetid, Remedieslfor, 133 Perfumes, 258 Brewers' Yeast, 339 Brick and TUemakers' Glazed Bricks, 164 Arches, Waterproofing, 741 Brickbat, Cheese, 176 Brick, Blood-red Stain, 166 Colors, 165 Brickmakers' Notes, 167 Brick Polishes, 600 Stain, 133, 166 Waffs, to Clean, 197 to Renovate, 190 Waterproofing, 134 Bricks, 164 Glaze for, 377 of Sand-lime, 689 Polish for, 600 Brie, Cheese, 176 Brightening Pickle, 469 Bright Red Rouge, 229 Brilliantine, 390 Florician, 483 Brimstone (Burning), 611 Bristol Brass (Prince's Metal), 53 Britannia Metal, 55 to'Clean, 201 Silver-plating, 687 British Champagne, 118 Oil, 484 Brocchieri's Styptic, 701 Brocq's Pomade for Itching, 228 Broken Bones, A Test for, 124 Bromine, Antiseptic, 100 Bromoform, 134 Bum, 134 Bronze, Aluminum, 56 Anneahng, 56 Articles, Polish for, 691 Casting, 150 Cleaning, 202, 206 Coloring, 138 Dye, 272 for Brass, 136 Gilding, 137 Leather, 447 Lettering, 456 Machine, 58 Phosphor, 58 / Polishes, 691 ' Powder, Liquid for, 567 Bronze Powders, 134, 139 Preparations, 135 I Bronze, Renovation of, 205 Silicon, 61 I Steel, 61 1 Substitutes, 137 Tincture, 136, 137 to Renovate, 201 Varnishes, 726 Bronzes, 65 Art, 57 Pickle for, 138 Statuary, 57 Bronzing, 566 and Patinizing of Articles, 136 Engraved Ornaments, 137 General Directions for, 135 Liquid, 136 Metals, 567 of Brass, 571 of Gas Fixtures, 566 of Wood, 782 of Zinc, 137 Solutions for Paints, 489 with Soluble Glass, 139 Brooches, Photographing on, 551 Brown Dye for Cotton, 267 for Silk, 267 for Wool, 267 and Silk, 267 Hair Dye, 390 Browning of Steel, 583 Brown Ink, 414 Ointment, 486 Oxidation on Bronze, 139 Shoe Dressing, 632 Brownstonc, Imitation, 133 Brown Tints, 669 Varnish, 726 Brunette or Rachelle Powder, 242 Brushes, 140 Bubble (Soap), Liquid, 655 Bubbles, 141 in Gelatine, 370 Buff Terra-Cotta Slip, 166 Wheels, Rouge for, 618 Bug Killers, 420 Building Blocks, Concrete, 691 Bunions, 224 Burning Banana Trick, 103 Brimstone, 611 SeaUng Wax, 611 Bums, 486 Carbolic Acid, 147 Mixture for, 142 Burnt Alum, 80 Steel, to Restore, 686 Butter, 142, 354 Artificial, Tests for, 364 Color, 142, 369 Buttermilk, Artificial, 143 Buttons of Artificial Agate, 44 Platine for, 80 Cadmiiun Alloy, about the Hard- ness of Zinc, 77 AUoys, 61, 64 with Gold, Silver, and Cop- per, 62 Amalgajns, Applications of, 87 Calcium Carbide, 144 Sulphide (Luminous), 494 Camera, Renovating a, 553 Campchello, 117 Camphor for Cholera, 180 Camphorated and Carbolatea Powders, 252 Cold Cream, 226 Ice, 145 Pomade, 145 Preparations, 144 790 INDEX Camphorated Substitutes in the Preparation of Celluloid, 157 Canaiy-Bird Food, 729 Paste, 145 Canary Birds, Their Diseases, 729 Concrete, 689 Candles, 145 Coloring, 145, 146 Fumigating, 365 Transparent, 145 Candy, 216 Colors and Flavors, 218 Orange Drops, 216 Canned Vegetables, 352 Canning, 602 without Sugar, 603 Cantharides and Modem Potato Bug Poison, 94 Pomade, 392 Can Varnish, 720 Canvas Waterproofing, 742 Caoutchouc, 618 Solution for Paints, 719 Capacities of Utensils, 703 Capsule Varnish, 720 Capping Mixtures for Bottles, 126 Caramels, 146, 216 Caramel in Food, 352 12-Carat, 433 4-Carat Gold, 433 18-Carat Gold for Rings, 433 22-Carat Solder, 433 Carats, to Find the Number of, 432 Carbolic Acid, 147 Carbolic-acid Burns, 147 Decolorization of, 147 Disguising Odor of, 147 CarboUc Powder, 263 Soap, 647 Carbolineum, 497 Carbonated Pineapple Cham- pagne, 118 Carbon Ink, 403 Paper, 503 Printing, 531 Process in Photography, 531 Carbuncle Remedies, 121 Cardboard or Leather Glue, 15 Waterproofing, 751 Cards (Playing), to Clean, 209 Care of Refrigerators, 401 Carmehte Balm Water, 519 Carmine, 403 Lake Dye for WaE Paper, 278 Carnation Lake Dye, 277 Carpet Preservation, 399 Soap, 644 Carpets, How to Preserve, 399 Carriage-top Dressing, 448 Carron Oil, 242 Case Hardening, 648 Casein, 34, 148 Albumen, and Glue, 34 Cements, 20 Massage Cream, 233 Paste, 38 Varnish, 34 Cashmere Perfumery, 516 Casket Trimmings, 150 Casks, 149 Watertight, 149 Cassias, Purple of, 383 Cast Brass, 53 Cast-brass Work, Sand Holes in, 150 Castile Soap, to Cut, 644 Casting, 149 Copper, 63 in Wax, 755 Molds, Alloys for, 80 of Soft Metal Castings, 151 Castings, Making in Aluminmn, 81 Castings Out of Various Metals, 149 to Soften Iron, 427 Cast-iron Soldering, 666 Castor Oil, 153 Castor-oU Chocolate Lozenges, 154 Castor Oil, How to Take, 154 Tasteless, 153 Casts from Wax Modd«, 755 (Plaster), Preservation of, 565 Repairing of Broken, 26 Waterproofing, 565 Catatypy, 154 Cat Diseases and Remedies, 732 Caterpillar Destroyers, 423 Catgut, 155 Sutures, Preparation of, 155 Catsup, Adulterated, 353 Cattle Dips and Applications, 264 Caustic Potash Poison, 93, 94 Ceiling Cleaners, 400 Celery Clam Punch, 112 Compound, 155 Cellars, Waterproof, 400 Celloidin Paper, 504 Cells, Solutions and Fillers for Battery, 104 Celluloid, 155 Cements and Glues, 17 Glue for, 12 Lacquer, 439 of Reduced Infiammability, 159 Putty, 161 Cement, 692 Armenian, 20 Asbestos, 30 Cheap and Excellent, 30 Colors, 688 Diamond Glass, 29 for Belts, 31 for Chemical Apparatus,.,31 for Cracks in Stoves, 162 for Enameled Dials, 20 for General Use, 31 for Glass, 21, 25, 28 for Iron and Marble, 17 for Ivory, 31 for Leather and Iron, 25 for Metals, 21, 25 for Metal on Hard Rubber, 22 for Pallet Stones, 162 for Pasteboard and Paper, 21 for Patching Boots, 23 for Pipe Joints, 162 for Porcelain Letters, 19 for Sandstones, 17 for Steam and Water Pipes, 161 for Watch-lid, 20 for Waterpipe, 162 Hydraulic, 33 Cementing Celluloid and Hard- rubber Articles, IS Cement Jewelers, 20 Mordant for, 479 on Marble Slabs, 16 Paints for, 499 Parisian, 30 Protection of. Against Acid, 9 Rubber for Cloth, 24 to Paint Over Fresh, 499 Transparent for Glass, 29 Strong, 30, 32 Universal, 31 Work, Protection for, 162 Cements, 16, 161 Amber, 26 Aquarium, 31 Casein, 20 CeUuloid, 17 for Attaching Letters on Glass, 19 for Fastening Porcelain to Metal, 25 Cements, for Iron, 24 for Leather, 22, 23 for Metals, 24 for Rubber, 22 for Stone, 16 for Tires, 23 for Water-glass, 19 Meerschaum, 30 Sign-letters, IS Silicate of Ozychloride, 35 Ceramics, 164 Chain of Fire, 612 Chains (Watch), to Clean, 206 Chalk for Tailors, 164 Chamois Skin, to Clean, 186 Champagne, 118 Cider, 181 Chapped Skin, 232 Chappine Cream, 237 Charta Sinapis, 480 Chartreuse, 769 Cheddar Cheese, 176 Cheese, 174 Color, 359 Wrapping, Tin Foil for, 474 Chemical Apparatus, Cement for. 31 Gardens, 368 Reagents, 349 Cherry Balsam, 103 Cordial, 764 Phosphate, 112 Tooth Paste, 257 Chewing Candy, 217 Gums, 178 Cheshire Cheese, 176 Chestnut Brown Dye for Straw Bonnets, 267 Hair Dye, 391 Chicken Bouillon, 112 Chicken-coop Application, 419 Chicken Diseases, 734 Chicory, Tests for, 353 Chilblains, 486 Children, Doses for, 265 Children's Tooth Powder, 255 China, 173 Pomade, 227 Repairing, 601 Riveting, 179 Silver Alloy, 75 * to Toughen, 173 Chinese Tooth Paste, 257 Chlorides, Piatt's, 264 Chloriding Mineral Lubricating OUs, 462 Chlorine-proofing, 9 Chocolate, 179 and Milk, 114 Caator-oil Lozenges, 154 Extracts, 312 FrappS, 114 Hot, 111 Soda Water, 111 Cholera Remedies, 179 Chowchow, 212 Chrome Black Dye for Wool, 267 Chromium Glue, 15 Chromo Making, 180 Cider, 180 Preservative, 181 Vinegar, 735 Cigarettes, Asthma, 101 Cigar Flavoring, 183 Sizes and Colors, 182 Spots, 183 Cigars, 182 Cinnamon Essence, 312 Oil as an Antiseptic, 100 or Brown Dye for Cotton and Silk, 267 Cinchona, 771 Pomade, 392 Citrate of Magnesium, 464 Clam Bouillon, 113 INDEX 791 Claret Lemonade, 110 Punch, 110, 112 ClariEcation of Gelatin and Glue, 370 Clarifying, 184 Muddy Water, 741 Clay, 33, 184 Claying Mixture tor Forges, 184 Clean Bronze, 202 Cleaner, Universal, 209 Cleaning Linoleum, 398 Marble, 196 Polished Woodwork, 194 Brass on Clock, 206 Bronze Objects, 205 Clocks, 207 Copper, 200 Copper Sinks, 202 Electro-plate Goods, 205 Funnels and Measures, 204 Gilded Work on Altars, 185 Gilded Articles, 185 Gilded Bronzes, 205 Gilt Bronze Ware, 201 Glass, Paste for, 208 Inferior Gold Articles, 207 Lamp Globes, 209 Marble, Furniture, etc., 197 Methods and Processes, 209 of Copperplate Engravings, 309 of Statuettes and Plaster Ob- jects, 564 of Walls, Ceilings, and Paper, 190, 397 Oil Stains on Wall Paper, 190 Optical Lenses, 208 Faint Brushes, 140 Painted and Varnished Sur- Painted Doors, Walls, etc., 190 Pearls, 208 Preparations, 184, 397, 590, 644 Preparation for Glass with Metal Decorations, 208 Pewter Articles, 205 Powder, 194 Skins and Leather, 186 Silver-plated Ware, 200 Terra Cotta, 197 Tracings, 194 Varnish Brushes, 141 Wall Paper, 191 Whitewashed Walls, 190 Window Panes, 208 Cleansing Fluids, 185 Clearing Baths, 635 Cleaiy's Asthma Fumigating Powder, 101 Cliche Metal, 52 Clook-beU Repairing, 737 Clock Cleaning, 207 Clock-dial Lettering, 737 Clock Hands, to Eeblack, 738 Clockmakers' Cleaning Processes, 206 Clock Oil, 482 Repairing, 738 Clothes and Fabric Cleaners, 191 Cleaners, 191 Clothes-Cleaning Fluids, 192 Cloth Paper, 504 Strips Attached to Iron, 14 to Iron, Gluing, 37 Waterproofing, 748 Cloths for Polishing, 599 Clouding of Mouth Mirrors, 477 Cloudless Caramel Coloring, 146 Clove Pink Perfumery, 516 Coal Oil, 484 . „,„ Coals, to Eat Biiming, 612 Coating for Bathrooms, 498 for Damp Walls, 499 for Name Plates, 601 Metallic Surfaces with Glass, 377 Tablets with Chocolate, 179 Cobaltizing of Metals, 573 Cobalt, or Fly Powder Poison, 94 Cochineal Insect Remedy, 422 Cocoa Mint, 115 Syrup, 112 Cocoas, 112 Cod Liver Oil and Its Emulsion, 482 Coffee, 353 Cocktail, 114 Cordial, 763 Cream Soda, 113 Essence, 314 Extracts, 313 for the Soda Fountain, 111 Frapp^, 114 Hot, 111 Iced, 114 Nogg, 114, 115 Substitutes for, 210 Syrups, 313 Coil Spring, 683 Springs, to Temper, 683 Coin Cleaning, 200 Metal, 62 Coins, Impressions of, 467 Matrix for, 467 Colas, 728 Gold and Cough'Mixtures, 211 Chemical Gilding, 677 Cream, 226 Enameling, 721 Soldering, 666 Varnish, 643 Colic in Cattle, 729 Collapsible Tubes, Skin Cream, 239 Tooth Paste for, 267 Collodion, 212 Cologne, 514 for Headaches, 394 Spirits or Deodorized Alcohol, 614 Coloration of Copper and Brass with Cupric Selenite, 668 Colored Alloys for Aluminum, 60 Celluloid, 161 Fireproofing, 344 Fires, 609 Floor Polishes, 691 ' Gilding, 577 Glass, 165, 371 Gold Alloys, 66 Hygroscopes, 402 Inks, 414 Lacquer, 439 Marking Inks, 407 Rings on Metal, 582 Sand, 628 Coloring Benedine Green, 106 Brass, 473 Ceresine Candles for the Christ- mas Tree, 145 Common Gold, 431 Copper, 473 Electrio-lightiBulbs and Globes, 371 Fluid for Brass, 129 Gold Jewelry, 430 Incandescent Lamps, 442 Matter in Fats, 334 Metals, 471, 568 of Brass, 128, 570 of Modeling Plaster, 563 Perfumes, 511 Silver, 640 Soap, 644 "Spirit" Varnishes, 715 Steel, 682 Unpohshed Brass, 128 Colorings for Jewelers' Work, 433 Color Enamel, 721 Photography, 548 Stains, for Wood, 782 Color Stamps for Rough Paper. 411 Testing, 559 Colors, 266 and Sizes of Cigars, 182 for Confectionery, 218 for Paints, 656 for PoUshed Brass, 127 for Pomade, 228 for Syrups, 702 Fusible Enamel, 306 Combined Alum and Hypo Bath. 535 Toning and Fixing Baths, 542 Comfortable, Washing, 399 Commercial Enameling, 290 Formaldehyde, 362 Mucilage, 43 Common Silver for Chains, 434 Silver Solder, 434 Composition Files, 339 for Cleaning Copper, Nickel, and other Metals, 203 for Linoleum, Oilcloth, etc., 469 for Writing on Glass, 376 of Various Hard Solders, 663 Compositions for Ships' Bottoms, 498 Compost for Indoor Plants, 337 Compound for Cleaning Brass, 203 Salicylated Collodion Corn Cure, 224 Solution of Thymol, 100 Concentrated Lye Poison, 93 Concrete, 689 Blocks, Properties of, 695 Tamping of, 695 Concrete Block Systems, 694 Building Block, 691 Mixers, 693 Condimental Sauces, 353 Condiments, 212 Tests for Adulterated, 349 Condition Powders, 729 for Cattle, 729 Conductivity of Aluminum Al- loys, 48 Confeotionery, 216 Colors, 218 Constipation in Birds, 729 Contracted Hoof or Sore Feet in Cattle, 730 Conversion of Metric into Eng- lish Measure, 760 Cooling Screen, 616 Cooking Vessels, Glazes for, 377 Cook's Table, 703 Cooper's Pen Metal, 74 Copal Varnish, 720 Copper, 219 AUoys, 51, 76 Amalgam, 90 Amalgams, Applications of, 87 and Brass Gilding, 677 Platinizing, 586 A Permanent Patina for, 585 Arsenic, 63 Articles, Pohsh for, 691 Bronzing, 566 Cleaning, 200 Coloring, 221, 473 Enameling, 294 Etching, 324 in Food, 351 Iron, 63 Lacquers, 439 Nickel, 63 Paint for, 495 Paper, 507 Patinizing and Plating, 586 Pohshes, 690 Separation of Gold from, 382 Copper-Silver Alloy, 75 792 INDEX Copper, Silver, and Cadmium Al- loys, 76 Solder for Plating, 434 Solders, 659 to Bronze, 136 Varnishes, 726 Coppering, 572 Glass, 672 Plaster Models, etc., 573 Zinc Plate, 573 Copying Ink, 415 Printed Pictures, 222 Process on Wood, 222 Cordage, 223 Lubricant, 463 Waterproofing, 753 Cordials, 763 Cork as a Preservative, 606 Cleaner, 210 to Metal, Fastening, 36 Corks, 223 Impermeable and Acid-proof, 10 to Clean, 210 Waterproofing, 742 Corn Plaster, 224 Cures, 224 Corrosive Sublimate Poison, 94 Cosmetic Jelly, 232 Cosmetics, 225 Cottenham Cheese, 176 Cotton, 245 Belts, Lubrication, 462 Degreasing, 246 Cottonseed, Extracting Oil, 482 Hulls as Stock Food, 246 OU, 482 Compress Cough Balsam with Iceland Moss, 211 Drops, 217 Mixtures and Remedies, 211 for Cattle, 730 Syrup, 211 Counter Polishes, 590 Court Plasters, 247, 563 Cow Diseases — Bemedies, 730 Powder, 730 Cow's Milk, Powder for, 732 ' Cracked Leather, 448 Cracks in Tools, to Render Visi- ble, 686 Crayons, 374 for Graining and Marbling, 247 for Writing on Glass, 374 Cream, 247 Beef Tea, 112 Bonbons for Hoarseness, 216 Cheese, 176 How to Determine, 474 Soda Powder, 628 Creams for the Face and Skin, 225 Creosote-carbolic Acid Poison, 94 Cresol Emulsion, 248 Crimson Dye for Silk, 271 IndeUble Ink, 406 Crystal Cements, 248 Crystalline Coatings or Frost- work on Glass or Paper, 376 Honey Pomade, 227 Crystallization, Ornamental, 368 Crockery, 167 Plaster and Meerschaum He- pairing, 27- Crocus, 248 Crude Petroleum, Emulsion of, 521 Crushed Apricot, 365, 604 Cherries, 365, 604 Fruit Preserving, 604 Orange, 365, 604 Peach, 365, 604 Pineapples, 364, 604 Raspberry, 364 Strawberry, 364 Cucumber Creams, 237 Cucumber Essence, 314 .Jelly, Juice, and Milk, 228 'Juice, 239 Milk, 239 Pomade, 228 Cummins's Whipped Cream, 248 Curacoa Cordial, 764 Liqueur, 770 Cure for Barber's Itch, 486 for Snake Bites, 96 for Tan, 242 for Warts, 736 Currant Cream, 115 Curry Powder, 213 Curtains, Coloring of, 446 Cutlers' Cements for Fixing Knife Blades into Handles, 16 Cutlery Cements, 16 Cutting, Drilling, Grinding, and Shaping Glass, 371 Cuspidor Powder, 263 Custard Powder, 249 Cyanide of Potassium Poison, 93 CyUnder Oil, 464 Cymbal Metal, 64 Cypress Water, 519 Dairy Products, 354 Damaskeening, 249 by Electrolysis, 249 on Enamel Dials, 250 Damp Walls, Coating for, 400, 499 Damson Cheese, 176 Dandruff Cures, 388 Darcet AUoy, 64 Dark-blue Dye, 268 Dark Gold Purple, 383 Dark-Green Blackboard Paint, 489 Dark Red Grease Paint, 229 Snuff-Brown Dye for Wool, 267 Steel Dye, 269 Deadening Paint, 491 ' Dead-gilding of an Alloy of Cop- per and Zinc, 579 Dead, or Matt, Dip for Brass, 131 Deadly Nightshade Poison, 94 Decalcomania Processes, 250 Decolorization of Carbolic Acid, 147 Decolorizing and Deodorizing Oils, 484 or Bleaching Linseed Oil, 483 Decomposition of Oils, Fats, 484 Decorating Aluminum, 81 Decorative Metal Varnishes, 726 Wood-finish, 772 Deep Red Grease Paint, 229 Red Raspberry Syrup, 318 Dehorners or Horn Destroyers, 397 Delta Metal, 63 Demon Bowls of Fire, 611 Denaturized Alcohol, 45, 678 Dental Cements, 163 Platinum, 74 Dentrifices, 251 Deodorants for Water-closets, 263 Deoderization of Calcium Car- bide, 144 Deodorized Alcohol, 514 Cod Liver Oil, 482 Petroleum, 522 Deodorizing Benzine, 106 Depilatory Cream, 259 Depthings, Verification of, 737 Derbyshire Cheese, 176 Desilvering, 587 Detannating Wine, 765 Detecting Dyed Honey, 396 Detection of Albumen in Urine, 44 of Formaldehyde in Food, 351 in Milk, 474 of Copper in Food, 351 of Cottonseed Oil in Lard, 442 of Glucose in Food, 357 of Saccharine in Food, 351 of Salicylic Acid in Food, 349 of Starch in Food, 357 Detergent for Skin Stains, 235 Detergents, 186 Determination of Artificial Colors m Food, 351 of Preservatives, 349 Determining Cream, 474 Developers for Photographic Pur- poses, 523 Development of Platinum Prints, 531 Dextrine Pastes, 35 Diabetics, Lemonade for, 109 Dial Cements, 20 , Cleaners, 207 Repairing, 737 Diamalt, 475 Diamantine, 432 Diamond Cement, 20 Glass Cement, 29 Tests, 260 Diarrhoea in Birds, 729 Remedies, 179 Die Venting, 261 Digestive Powders, 261 ReUsh, 213 Diogen Developer, 527 Dip for Brass, 131 Dipping Metals, Danger of, 470 Dips, 469 for Cattle,"264 Direct Coloration of Iron and Steel by Cupric Selenite, 668 Directions for Bronzing, 135 for Making Perfumes, 512 Disinfectants, 264 Disguising Odor of Carbolic Acid, 147 Dish Washing, 399 Disinfectant for Books, 125 Disinfectants, 262 for Sick Room, 264 Disinfecting Coating, 265 Fluids, 262 or Weed-killers, 262 Powders, 262 Dissolving Old Rubber, 622 Distemper in Cattle, 729 Distinguishing Blue from Green, 121 Diuretic Ball, 731 Dog Applications, 419 Biscuit, 265 Soap, 654 Domestic Ointments, 486 Pets, 732 Donarite, 330 Doors, to Clean, 190 Doses for Adults and Children, 265 Dose Table for Veterinary Pur- poses, 729 Double Extract Perfumery, 518 Drawing Inks, 403 Paper, 604 Temper from Brass, 133 Drawings, Preservation of, 266 to Clean, 206 Draw-tempering Cast Steel, 687 Dresfflng for Carriage Tops, 448 for Sewing Thread, .706 Dressings for Harness, 461 for Leather, 448 for Linoleum, 459 for the Hair, 389 INDEX 793 Dried Casein, its Mfg., 148 Yolk of Egg, 284 Driers, 636 Driffield Oils, 483 Drill Chips, to Utilize, 686 Drilling Hard Steel, 687 Lubnoaut for, 463 Shaping, and Filing Glass, 372 Drinking Water, Removal of Iron from, 741 Drinks for Summer and Winter, 107 Soda Water, 111 Drops of Lime in the Eye, 333 Table of, 704 Drosses, 151 Dry Bases for Paints, 489 Perfumes, 509 Powder Fire Extinguishers, 341 Rot, Remedies for, 618 Sugar Preserving, 604 Yeast, 786 Drying Oils, 485 Druggists' Label Paste, 41 Dubbing for Leather, 460 DuesseldorS Mustard, 215 Dunlop Cheese, 176 Durable Bronze on Banners, 137 Putty, 607 Dust-laying, 485 Dust Preventers and Cloths, 401 Dutch (Holland) Cheese, 176 Pink Dye, 278 Dyeing Feathers, 335 Leather, 450 Silk or Cotton Fabrics, 280 Straw Hats, 394 Dyes, 266 and Dyestuffs, 274 Colors, etc., for Textile Goods, 279 for Artificial Flowers, 272 for Feathers, 272 for Food, 359 for Furs, 272 for Hats, 273 for Leather, 450 Dye Stains, Removal from Skin, 184 Dynamite, 329 Earthenware, 168 Easily Fusible Alloys, 64 Eastman's Sepia Paper, 531 Eaton's Styptic, 701 Eau de Botot Water, 519 de Lais Water, 519 de Merveilleuse Water, 519 de Quinine, 392 Eberle's Whipped Cream, 248 Ebony, 783 Lacquer, 439 Stains, 782 , „„^ Eczema Dusting Powder, 282 Edible Oils, 355 Effervescent Bath Tablets, 103 Powders, 627 Eggs, 282, 355 Egg Chocolate, 114 Claret, 115 Coffee, 115 Crtoe de Menthe, 115 Dyes, 275 Lemonade, 111, 115 M<ed Milk Coffee, 114 Oil, 284 Orgeat, 115 Phosphate, 113 Powder, 284 Shampoo, 393 Sherbet, 115 Sour, 115 Wine, 118 Egg-stain Remover, 201 Eikonogen Developer, 524 Ektogan, 98 Elaine Substitute, 286 Elastic Glue, 14 Limpid Gum Varnishes, 720 or PUable Paste, 39 Substitute for Celluloid, 158 Electrical Conductivity of Alumi- num Alloys, 50 Electric Installations, Fusible Al- loys for, 64 Insulation, 425 Light Bulos, Coloring, 371 Electrodeposition Processes, 571 Electro-etching, 324 Electrolysis in Boilers, 123 Electroplating and Electrotyp- ing, 286 Elm Tea,. 288 Embalming Fluids, 288 Embroideries, Stamping Powder for, 680 Embroidery, Ink for, 411 Emerald, Imitation, 370 Emery, 289 Grinder, 289 Substitute, 289 Emmenthaler Cheese, 176 Emollient Skin Balm, 234 Emulgen, 290 Emulsiflers, 289 Emulsion, Cresol, 248 of Bromoform, 134 Emulsions of Petroleum, 521 Enamel Colors, 727 foi; Copper Cooking Vessels, 305 for Vats, 721 How to Remove, 189 Letters Attaching to Glass, 19 Mixing, 302 Removers, 187 Solder, 434 Varnishes, 720 Enameled Dials, Cement for, 20 Iron Recipes, 305 Enameling, 290 Alloys, 67 Enamels, Metallic Glazes on, 173 Unaffected by Hot Water, 721 Engines (Gasoline), Anti-freezing Solution for, 363 English Margarine, 143 Pink Dye, 278 Weights and Meastires, 758 Engravers' Varnishes, 723 Engraving, Matting, and Frost- ing Glass, 375 on Steel, 687 or Etching on Steel, 687 Spoon Handles, 309 Engravings, their Preservation, 309 to Reduce, 310 to Transfer, 710 Enlargements, 542 Envelope Gum, 43 Epicure's Sauce, 213 Epizooty, 731 Eradicators, 205 Erasing Powder or Pounce, 189 Essence BtoSdictine, 769 of Anchovies, 98 of Cinnamon, 312 i of Extract of Soup Herbs, 212 of Savory Spices, 214 Essences and Extracts of Fmits, 310, 312 Etching, 322 Bath for Brass, 324 for Tin, 706 Copper, Brass, and Tombac, 323 Fluids, 322 Fluid for Aluminum, 324 Etching, Fluid, for Brass, 323 to Make Stencils, 323 for Copper, Zinc, and Steel, 324 for Gold, 324 for Lead, Antimony, and Bri- tannica Metal, 324 for Tin or Pewter, 324 for Zinc, 323 Fluids for Coplper, 325 for Iron and Steel, 322 for Silver, 324 Glass by Means of Glue, 326 -ground for Copper Engrav- ing, 322 on Copper, 324 on Glass, 325 on Ivory, 327, 428 on Marble, 327 on Steel, 687 Powder for Iron and Steel, 323 for Metals, 324 Steel, Liquids for, 327 with Wax, 326 Eucalyptus Bonbons, 212 Paste, 257 Examination of Foods, 352 Expectorant Mixtures, 212 Explosives, 328, 330 Exposures in Photograpliing, 528 Extemporaneous Anchovy Sauce, 98 Extract, Ginger-ale, 107 of Meat Containing Albumen, 361 of Milk, 474 Extracting Oil from Cottonseed, 482 Extracts, 312 Coffee, 313 Eye, Foreign Matter in, 333 Eyeglasses, 376 Eye Lotions, 333 Fabric Cleaners, 191 Fabrics, Waterproofing of, 742 Facade Paint, 499 Face Black and Face Powder, 230 Bleach or Beautifier, 231 Cream without Grease, 239 Powder, Fatty, 230 Faded Photographs, 544 Fairthorne's Dental Cement, 163 Falling Hair. 392 Fancy Soda Drinks, 113 Fastening Cork to Metal, 36 Fats, 333, 334, 335 Decomposition of, 484 for Soldering, 659 Fatty Acid Fermentation Process, 334 Face Powders, 230 Feather Bleaching and Coloring, 121, 335 Dyes, 272, 335 Felt Waterproofing, 749 Fermentation, Prevention of, 765 Process, Fatty Acid, 334 Ferro-argentan, 71 Ferro-prussiate Paper, 539 Ferrous-oxalate Developer, 525 Fertilizer with Organic Matter^ for Pot Flowers, 337 Fertilizers, 336 Bone, 338 Fever in Cattle, 731 Fig Squares, 216 File Alloys, 64 Metal, 64 Files, 339 Geneva Composition, 64 to Clean, 205, 339 Vogel's Composition, 64 794 INDEX Filigree Gilding, 576 Fillers for Letters, 457 for Wood, 773 Film-stripping, 553 Filter Paper, 504 Filters for Water, 339 Finger-marks, to Remove, 125 Fingers, Pyrogallic-acid Stains on, 185 Finger-tips, Sparks from, 611 Finishing Enamel for White Fur- niture, 722 Firearm Lubricants, 460 Firearms, Oil for, 460 Fire, Chain of, 612 Colored, 609 Grenades, Substitutes for, 341 Trick, 611 Extinguishers, 340 Fireproof and Watei-proof Paints, 491 Coating, 344 Compositions, 344 Glue, 16 Paints, 490 Papers, 344, 504 Fireproofing, 341, 344 CeUuloid, 159 Clothing, 342 for Wood, Straw, Textiles, 343 Light Woven Fabrics, 342 Mosquito Netting, 342 Rope and Straw Matting, 342 Stage Decorations, 342 Tents, 342 Fireworks, 608 Fish Bait, 344 Fishing Net, Preservation of, 223 Fixing and Clearing Baths, 535 Agents in Perfumes, 512 Baths for Paper, 542 Fixatives for Crayon Drawings, etc. 344 Flabby Skin, Wash for, 234 Flashlight Apparatus, 552 Apparatus with Smoke Trap, 552 Flannels, Whitening of, 446 Flavoring Cigars, 183 Extracts, 355 Peppermint as a, 252 Sarsapaiilla, 629 Flavorings, 213 for Dentifrice, 255 Spices, 213 Flea Destroyers, 423 Flesh Face Powder, 243 Flexible Ivory, 428 Flies and Paint, 501 in the House, 399 Floor Coating, 500 Dressings, 344 Oils, 485 Paper, 506 Polish, 691 Varnishes, 724 Waterproofing, 753 Wax, 754 Floral Hair Oil, 483 Hair Pomade, 483 Florentine Bronzes, 136 Floricin BriUiantine, 483 OU, 483 Florida Waters, 514 Flower Preservatives, 345 Flowers, Coloring for, 346 Flour and Starch Compositions, 35 Paste, 39 Fluid Measure, V. S. Standard, 704 Fluid Measures, 758 Fluids, Clothes-cleaning, 192 Disinfecting, 262 - for Embalming, 288 for Solderinjg, 659 Fluorescent Liquids, 347 Fluxes for Soldering, 660 Used in Enameling, 305 Flux for Enameled Iron, 305 Fly Essences, 421 Fly-papers and Fly-poisons, 347 Fly-killers, 421 Fly Protectives for Animals, 419 Foam Preparations, 348 Foamy Scalp Wash, 389 Foreign Matter in the Eye, 333 Food Adulterants, Tests for, 348 Benzoic Acid in, 107 Colorants, 358 Cooked in Copper Vessels, 94 Foods, Bird, 120, 729 for Pets, 733 for Red Birds, 729 Foot Itch, 733 Foot-powders and Solutions, 361 Footsores on Cattle, 730 Formaldehyde, 362 for Disiiiecting Books, 263 in Milk, Detection of, 474 Formalin for Grain Smut, 384 Treatment of Seed Grain for Smut, 384 Formol Albiimen for Preparation of Celluloid, 156 Formulas for Bronzing Prepara- tions, 135 for Cements for Repairing Por- celain, Glassware, Crockery, Plaster, and Meerschaum, 27 to Drive Ants Away, 420 Foul Brood in Bees, lOS Fowler's Solution Poison, 93 Foxglove, or Digitalis Poison, 94 Foy's Whipped Cream, 248 Fragrant Naphthalene Camphor, 14 Frames, Protection from Flies, 363 Frame Cleaning, 185 Polishes, 600 Framing, Passe-partout, 508 Frangipanni Perfumery, 516 Frankfort Black, 561 Freckle Lotions, 240 Freckles and Liver Spots, 241 Freezing Mixtures, 615, 616 Preventives, 363 French Brandy, 768 Bronze, Preparation of, 136 Dentrifice, 256 Floor Polish, 591 Gelatin, 369 Hide Tanning Process, 453 Solders for Silver, 664 Varnish, 724 Fresh Crushed Fruits, 365 Frost Bite, 363 Preventive, 363 Removers, 376 Frosted Glass, 374 Mirrors, 375 Frosting Polished Silver, 640 Fruit Essences and Extracts, 310 Frappe, 116 Jelly Extract, 314 Preserving, 364, 604 Products, 357 Syrups, 701 Vinegar, 735 Fuel, 152 Fuller's Purifier for Cloths, 274 Fulminates, 332 Fulminating Antimony, 332 Bismuth, 332 Copper, 332 Mercury, 333 Powder, 333 Silver, 640 Fumigants, 365 Fumigating Candles, 365 Funnels, to Clean, 204 Furnace Jacket, 368 Furniture Cleaners, 206 Enamel, 722 Its Decoration, 772 Polishes, 592 Wax, 754 Fuses, 610 for Electrical Circuits. 64 Fusible Alloys for Electric Instal- lations, 64 Enamel Colors, 306 Safety Alloys for Steam Boilers, 65 Fusion Point of Metals, 473 Galvanized Iron, 496 Roofing, 397 Paper, 607 Gamboge Stain, 439 Gapes in Poultry, 734 Garancine Process, 277 Gardens, Chemical, 368 Garment-cleaning Soap, 645 Gas Fixtures, 130 Bronzing of, 566 Gasoline Pumps, Packing for, 488 Gas Soldering, 660 Stove, to Clean, 202 Trick, 610 Gear Lubricant, 463 Gelatin, 369 Air Bubbles in, 370 Gems, Artificial, 370 Gem Cements, '20 Geneva Composition Files, 64 Genuine Silver Bronze, 140 German Matches, 467 Method of Preserving Meat, 361 Silver or Argentan, 69 German-silver Solders, 661 German Table Mustard, 215 Gilders' Sheet Brass, 55 Wax, 755 Gilding, 493 and Gold Plating, 575 German Silver, 678 Glass, 373, 578 in Size, 493 Metals, Powder for, 579 Pastes, 580 Plating and Electrotyping, 288 Renovation of, 185 Steel, 580 Substitute, 575 to Clean, 185 Watch Movements, 738 Gilt Frames, Polish for, 600 Test for, 383 Work, to Burnish, 384 Ginger, 112 Ginger-Ale Extract, 107 Ginger Ale, Flavoring for, 108 Soluble Extract, 108 . Beer, 107, 108 Extracts, 314 Gold-leaf Alloys, 67 Striping, 383 Gold Varnish for Tin, 727 Glass, 371 Acid-proof, 374 INDEX 795 Glass and Porcelain Cement, 28 and Glassware Cement, 25 Balls, Amalgam for, 90 Silvering, 587 Celluloid, and Metal Inks, 403 Cement for, 21 Cleaning, 208 Coppering, Gilding, and Plat- ing, 572 Etching, 325 Fastening Metals on, 25 Gilding, 373, 578 Globe, Silvering, 641 How to Affix Sign-lettera on, IS Lettering, 457 Lubricants, 372 Manufacturing, 373 Polishes for, 593 Porcelain Repairing, 26 Refractory to Heat, 373 Stop Cock Lubricant, 462 Stopper, to Loosen, 700 Silvering of, 476 Solders for, 662 Soluble, as a Cement, 28 to Affix Paper on, 19 to Cut, 371 to Fasten Brass Upon, 17 to Fix Gold Letters to, 18 to Remove Glue from, 208 to Silver, 641 Waterproof Cements for, 21 Globes, How to Color, 371 Silvering, 476 Glossy Paint for Bicycles, 495 Gloucester Cheese, 176 Glove Cleaners, 195 Gloves, Substitute for Rubber, 100 Testing, 622 Glaziers' Putty, 607 Glazing on Size Colors, 377 Glaze for Bricks, 377 Glazes, 377 and Pottery Bodies, 167 for Cooking Vessels, 377 for Laundry, 444 Glucose in Jelly, 357 Glue, Box, 15 Chromium for Wood, Paper and Cloth, 15 Clarifier, 370 Mastic, 14 Fireproof, 16 for Articles of a Metallic or Mineral Character^ 15 for Attaching Cloth Strips to Iron, 14 for Attaching Gloss to Precious Metals, 14 for Belts, 15 for Cardboard, 15 for Celluloid, 12 for Glass. 15 for Leather or Cardboard, 15 for Paper and Metal, 14 for Tablets, 13 for Uniting Metals with Fab- rics, 15 for Wood, 15 Manufacture, 10 Marine, 13 or Paste for Making Paper Boxes, 15 Prevented Irom Cracking, 10 Test, 10 to Fasten Linoleum on Iron Stairs, 14 to Form Paper Pads, 12 Glues, 10, 34, 378 Liquid, 11 Waterproof, 13 Glycerine, 378 and Cucumber Jelly, 228 Applications, 228, 236, 237, 239 as a Detergent, 186 Creams, 237 Developer, 530 Lotion, 379 Milk, 239 Process, 631 Soap, 646, 652 Goats' Milk Cheese, 178 Gold, 379 Acid Test for, 432 Alloys, 66, 435 Amalgams, 89 and Silver Bronze Powders, 139 Assaying of, 381 Enameling Alloys, 67 Enamel Paints, 493 Etching Fluid for, 324 Extraction of, by Amalgama- tion, 89 Foil Substitutes and Gold Leaf, 747 from Acid Coloring Baths, 381 Imitations of, 433 IndeUble Ink, 406 Ink, 405, 415 Jewelry, to Give a Green Color to, 582 Lacquers, 440 Leaf and its Applications, 492 Gold-leaf Alloys, 67 Gold-leaf Waste, to Recover, 381 Gold Lettering, 456 Letters on Glass, Cements for Affixing, 18 Oil Suitable for Use, 485 Paints, 492 Gold-plate Alloys, 67 Gold Plating, 575 Printing on Oilcloth, 379 Purple, 383 Recovery of Waste, 381 Reduction of Old Photographic, 535 Renovator, 199 Solders, 434, 661 Testing, 432 Varnish, 726, 727 Ware Cleaner, 200 Welding, 381 Goldenade, 114 Golden Fizz, 115 Varnishes, 724 "Golf Goblet," 114 Gong Metal, 64 Grafting Wax, 755 Grain, 384 Graining and Marbling, 247 Colors, 556 Crayons, 247 of Brass, 130 with Paint, 494 Granola, 110 Grape Glace, 114 Juice, Preservation of, 767 Graphite Lularicating Compound, 463 Gravel Walks, 385 Gravers, 385 Gray Dyes, 269 Tints, 559 Grease Eradicators, 205 for Locomotive Axles, 462 Greasless Face Cream, 239 Grease Paints, 228 Greases, 462 Wagon and Axle, 462 Green Bronze on Iron, 138 Coloring for Antiseptic Solu- tions, 100 Dyes, 269 I Green Dye for Cotton, 269 for Silk, 269 for Wool and Silk, 269 Fustic Dye, 269 Gilding, 578 Ginger Extract, 315 Ink, 415 or Gold Color for Brass, 582 or Sage Cheese, 176 Patina Upon Copper, 585 Salve, 486 to Distinguish Blue from, 121 Grenades, 341 Grinder Disk Cement, Substitute for, 31 Grinding, 708 Glass, 372 Grindstone Oil, 386 Grindstones, 386 Ground Ceramics, Laying Oil for, 485 for Relief Etching, 322 Grounds for Graining Colors, 556 Grosser's Washing Brick, 445 Gruyere Cheese, 176 Gum Arabic, Substitute, 43, 386 Bichromate Process, 546 Drops, 216 for Envelopes, 43 Gums, 386 their Solubility in Alcohol, 386 Used in Making Varnish, 715 Gun Barrels, to Blue, 682 Bronze, 59 Cotton, 331 Lubricants, 460 Gunpowder, 328 Stains, 387 Gutta-percha, 387 Gutter Cement, 162 Gypsum, 387 Flowers, 346 Paint for, 293 H Haenkel's Bleaching Solution, 445 Hair-curhng Liquids, 389 Hair Dressings and Washes, 389 Dyes, 390 Embrocation, 389 for Mounting, 388 Oil, 390 Oils, Perfumes for, 520 Preparations, 388 Removers, 259 Restorers and Tonics, 389, 391 Shampoo, 392 Hammer, to Harden, 684 Hand Bleach, 233 Creams and Lotions, 232 Hand-cleaning Paste, 232 Handkerchief Perfumes, 516 Hand Stamps, Ink for, 411 Hands, Remove Stains from, 184, 185 Perspiring, 233 Hard-finished Walls, 499 Hard German-silver or Steel Sol- der, 661 Glaze Bricks, 164 Lead, 71 Metal Drilling Lubricant, 463 Putty, 607 Solders, 662, 664 Solder for Gold, 661 Wood PoUsh, 598 Hardened Ivory, 429 Steel, to Solder, 665 Hardening Plaster of Paris, 564 of Springs, 685 Steel without Scaling, 685 Steel Wire, 684 796 INDEX Hare-lip Operation, 99 Harmless Butter Color, 143 Colors for l/se in Syrups, 321 Harness Dressings, 450 Grease, 451 Oils, 451 Preparations, 450 Pastes, 451 Wax, 755 Hartshorn Poison, 93 Hat-cleaning Compounds, 187 Hat Waterproofing, 748 Hats, 394 to Dye, 273 Headache Cologne, 394 Remedies, 394 Head Lice in Children, 432 Heat-indicating Paint, 501 Heat Insulation, 426 Prickly, 398 Heat-resiatant Lacquers, 441 Heaves, 731 Hectograph Pads and Inks,395, 416 Hedge Mustard, 394 Heel PoUsh, 632 Hellebore Poison, 94 Helvetius's Styptic, 701 Hemlock Poison, 94 Hemorrhoids, 561 Henbane Poison, 94 Herbarium Specimens, Mounting, 394 Pomade, 227 Herb Vinegar, 735 Hide Bound, 731 Hide-cleaning Processes, 186 Hides, 454 Hoarfrost Glass, 375 Hog-rseness, Bonbons for, 216 Remedy for, 211 Holland Cheese, 176 Hollow Concrete Blocks, 691 Silverware, 640 Home-made Outfit for Grinding Glass, 372 Refrigerators, 616 Honey, 396 Clarifier, 396 Watqr, 519 Wine, 468 Honeysuckle Perfumery, 616 Honing, 761 Hoof Sores, 730 Hop Beer, 108 Bitter Beer, 118 Syrup, 315 Horehound Candy, 217 Horn, 396 Bleaches, 430 Uniting Glass with, 17 Horns, Staining, 397 Horse Bhstering, 729 . Horse-colic Remedy, 729 Horse Embrocations and Lini- ments, 731 Horses and Cattle, 729 Treatment of Diseases, 729 Horticultural Ink, 405 Hosiery, Dye for, 268 Hostetter's Bitters, 762 Hot Beef Tea, 112 . Bouillon, 113 Celery Punch, 112 Chocolate and Milk, 111 Egg Bouillon, 112 i Chocolate, 111, 113 Coffee, 113 Drinks, 113 Lemonade, 113 Milk, 11^ Nogg, 113 Orangeade, 111 Phosphate, 113 Lemonades, 110, 111 Malt, 112 Hot Malted Milk Coffee (or Chocolate), 112 Orange Phosphate, 112 Soda Toddy. 112 Soda-water Drinks, 111 Tea, 113 Household Ammonia, 91 . Formulas, 397 House Paint, 500 How to Bronze Metals, 136 to Clean a Panama Hat, 187 Brass and Steel, 202 Tarnished Silver, 204 to Color Aluminum, SO to Keep Cigars, 187 Fruit, 364 Lamp Burners in Order, 399 to Lay Galvanized Roofing, 397 to Make Castings of Insects, 151 a Cellar Waterproof, 400 a Plaster Cast of a Coin or Medal, 150 Picture Postal Cards and Photographic Letter Head, 537 Simple Syrups; Hot Process, 702 to Open a Book, 125 to Paste Labels on Tin, 40 to Pom- Out Castor Oil> 153 to Renovate Bronzes, 201 . to Reproduce Old Prints, 223 to Sensitize Photographic Printing Papers, 539 to Take Care of Paint Brushes, 140 Castor Oil, 154 to Tell Pottery, 173 to Unite Rubber and Leather, 22 to Tell the Character of Enamel 304 Huebner's Dental Cement, 163 Hunyadi Water, 740 Huyler's Lemonade, 110 Hydraulic Cement, 33 Hydrochinon Developer, 525 Hydrocyanic Acid Gas for Exter- minating Household Insects, 418 Hydrofluoric Formulas, 326 Hydrographic Paper, 504 Hydrogen Peroxide as a Preserva- tive, 605 Hygrometer and Its Use, 401 Hydrometers and Hygroscopes, 402 Hyoscyamus, Antidote to, 102 I Ice, 402 Flowers, 402 Iced Coffee, 114 Iceland Moss, Cough Mixture, 211 Ideal Cosmetic Powder, 243 Igniting Composition, 403 Imitation Black Marble, 699 Cider, 182 Diamonds, 432 Egg Shampoos, 393 Gold, 67, 433 Foils, 474 Japanese Bronze, 138 of Antique Silver, 640 Ivory, 429 Platinum, 74 Silver Alloys, 77 Bronze, 140 FoQ, 474 Stains for Wood, 784 Imogen Developer, 627 Impervious Corks, 223 Impregnation of Papers with Zapon Varnish, 506 Improved Celluloid, 156 Incandescent Lamps, 442 Incense, 366 Incombustible Bronze Tincture, 136, 137 Increasing the Toughness, Den- sity and Tenacity of Alumi- num, 83 Incrustation, Prevention of, 122 Indelible Hand-stamp Ink, 411 Inks, 405 for Glass or Metal, 404 Labels on Bottles, 327 Stencil Inks, 412 India, China or Japan Ink, 406 India-rubber Varnishes, 724 Indigo, 268, 281 Indoor Plants, Compost for, 337 Industrial and Potable Alcohol: Sources and Mfg., 667 Infant Foods, 359 Infants, Milk for, 475 Inflammable Explosive with Chlorate of Potash, 331 Inflammability 'iOf Celluloid Re- duced, 159 Inflanmiation of the Udder, 731 Influenza in Cattle, 731 in Horses, 731 Ink Eradicators, 189 Erasers, 189 for Laundry, 446 for Leather Finishers, 453 for Steel Tools, 404 for Writing on Glass, 325, 376 on Glazed Cardboard, 404 on Marble, 404 Powders and Lozenges, 407 Stains, Removing, 1S9 Inks, 403 for Hand Stamps, 411 for Shading Pen, 416 for Stamp Pads, 410 for T3T)ewriters, 711 Hectograph, 395 Inlay Varnish, 724 Inlaying by Electrolysis, 324 Insect Bites, 417 Casting, 151 Powders, 419, 424 Trap, 425 Insecticides, 418 for Animals, 419 for Plants, 422 Instructions for Etching, 322 Instrument Alloys, 71 Cleaning, 199 Lacquer, 440 Soap, 653 Instruments, to Remove Rust, 199 Insulating Varnishes, 425 Insulation, 425 Against Heat, 426 Moisture, Weather, etc., 426 Intensifiers and Reducers, 552 International Atomic Weights, 757 Iodine Poison, 94 Soap, 646 Solvent, 427 Iodoform Deodorizer, 427 Iridescent Paper, 504 Iridia Perfumery, 516 Iron, 427 and Marble. Cement for, 17 and Steel, Etching Fluids for* 322 Polishes, 597 Powder for Hardening, 427 Bitmg Off Red Hot, 612 Black Paint for, 495 INDEX 7»7 Iron, Bronmng, 567 Castings, to Soften, 427 Cements for, 17, 25 How to Attach Rubber to, 22 Pipes, Rust Prevention for, 625 Silver-plating, 587 Solders, 665 to Cement Glass to, 17 to Clean, 204 to Cloth, Gluing, 14 to Color Blue, 427 to Whiten, 427 Varnishes, 727 Ironing Wax, 444 Irritating Plaster, 4S6 Itch, Barbers', 486 Ivory, 428 and Bone Bleaches, 430 Black, 123 Cement, 31 Coating for Wood, 500 Etching on, 428 Gilding, 579 Polishes, 593 Tests, 430 Jaborandi Scalp Waters, 392 Jackson's Mouth Wash, 259 Jandrier's Test for Cotton, 246 Japan Black, 495 Paint, 495 Japanese Alloys, 69 Bronze, 138 (Gray), Silver, 76 Japanning and Japan Tinning, 724 Jasmine Milk, 240 Jelly (Fruit) Extract, 314 Jet Jewelry, to Clean, 431 Jewelers' Alloys, 433 Cements, 20 Cleaning Processes, 206 Enamels, 308 Formulas, 430 . Glue Cement, 20 Jewelry, to Clean, 206 Kalsomine, 436 Karats, to Find Number of, 432 Keeping Flies Out of a House, 399 Keranm^, 164 Kerit, 619 Kerosene-cleaning Compounds, 193 Kerosene Deodorizer, 484 Emulsions, 521 Ketchup (Adulterated), 353 Khaki Color Dyeing, 276 Kid, 449 Leather Dressings, 449 Reviver, 453 Kirschner Wine Mustard, 214 Kissingen Salts, 628 Knife-blade Cement, 16 Knife-sharpening Pastes, 615 Knockenpfombe, 31 Kola Cordial, 764 Tincture, 321 Koiuniss, 116 Substitute, 437 Krems Mustard, Sour, 215 Krems Mustard, Sweet, 215 Klinunel, 764 Kwass, 117 tabel Pastes, 39 Vamishea, 725 Labels on Tin, How to Paste> 4o Lac and the Art of Lacauerine, 437 Lace Leather, 454 to Clean Gold and Silver, 193 Laces, Washing and Coloring of, 446 Lacquer for Aluminum, 438 for Brass, 438 for Bronze, 438 for Copper, 439 for Oil Paintings, 440 for Microscopes, etc., 440 for Stoves and other Articles, 441 Lacquered Ware, to Clean, 195 Lacquers, 437 for Papers, 441 Lakes, 277 Lampblack, 441 / Lamp Burners, to Clean, 200, 399 Lamps, 442 Lanoline Creams, 238 Hair Wash, 389 Soap, 647 Toilet Milk, 239 Lantern Slides, 532 Lard, 442 Lathe Lubricant, 461 Laudanum Poison, 95 Laundry Blue, 443 Tablets, 444 Gloss Dressing, 444 Inks, 399 Preparations, 443 Soap, 654 Laimdrying Lace^, 446 Laurel Water, Poison, 93 Lavatory Deodorant, 398 Lavender Sachets, 510 Water, 514 Lawn Sand, 629 Laxatives for Cattle, etc., 732 Lead, 48, 446 Alloys, 48, 71 Amalgams, Application of, 88 Paper, 507 Plate, Tinned, 589 Poison, 95 to Take Boiling, in the Mouth, 612 Leaf Brass, 54 Leaks, 446 in Boilers, Stopping, 608 Leather, 447 and Rubber Cements, 22 as an Insulator, 426 Cements for, 23 Leather-cleaning Processes, 186 Leather Dyeing, 450 Lac, 441 Lubricants, 460 or Cardboard Glue, 15 Painting on, 455 Polish Lac, 441 Removing Spots from, 206 Russian, 454 Varnish, 725 Waste Insulation, 426 Waterproofing, 750 Leguminous Cheese, 176 Lemon Beer, 108 Essences, 315 Extract (Adulterated), 356 Juice, Plain, 112 Sherbet, 628 Sour, 116 Lemons, 456 Lemonade, 109, 112 for Diabetics, 109 Powder, 627 Preparations for the Sick, 109 Lemonades and Sour Drinks, 110 Lenses and their Care, 456 Letter-head Sensitizers, 637 Lettering, 456 a Clock Dial, 737 on Glass, 457 on Mirrors, 457 Ley Pewter, 75 Lice Killers, 422 Powders, 734 Lichen Removers, 4 Licorice, 458 Syrup, 321 Liebermann's Bleaching Test, 246 Light, Inactinic, 154 Lilac Dye for Silk, 270 Water Perfumery, 520 Limburger Cheese, 176 Lime, 33, 692 Limeade, 110 Lime as a Fertilizer, 339 Bird, 458 Juice, 112, 316 Lime-juice Cordial, 118 Limewater for Dyers' Use, 274 Lincoln Cheese, 176 Lincolnshire Relish, 213 Linen Bleaching, 120 Drffising, 444 to Distinguish Cotton from, 246 Linoleum, 4^9 Cleaning and Polishing, 206, 398 Glue to Fasten, 14 Liniments, 459 for Horses, 731 Lining for Acid Receptacles, 10 Linseed Oil, 34, 459 Adulteration of, 460 Bleaching of, 459 for Varnish Making, 483 or Poppy Oil, 484 Refimng, 484 SoUd, 483 Lipol, 226 Lipowitz Metal, 61, 65 Lip, Pomades, 226 Salves and Lipol, 226 Liqueurs, 768 to Clarify, 770 Liquid Bedbug Preparations, 421' Bottle Lac, 440 Bronzes, 135 Cloth and Glove Qeaner, 195 Court Plaster, 247 Dentifrices, 256 Dye Colors, 273 for Bronze Powder, 567 for Cooling Automobile En- gines, 363 Liquids for Etching Steel, 327 Liquid Gold, 380 Glues, 11 Headache Remedies, 394 Indelible Drawing Ink, 403 Laundry Blue, 444 Metal Polish, Non-explosive, 595 Perfumes, 511, 515 Polishes, 594 Porcelain Cement, 28 Rouge, 230 Shampoos, 393 Shoe Blackings, 633 Soaps, 646 Styrax Soap, 647 Tar Soap, 647, 654 Liquor Ammonii Anisatua, 91 Liquors, 762 Lithia Water, 740 Lithographic Inks, 407 Lacquer, 440 Paper, 505 Liver-spot Remedies, 241, 242 Lobelia-Indian Poke Poison, 95 798 INDEX Locomotive Axles, Grease for, 462 Lubricants, 462 Locust Killer, 422 Logwood and Indigo Blue Dye, 268 London Soap Powder, 650 Lotion for the Hands, 232 Louse Wash, 423 Lozenges, Voice and Throat, 219 Lubricants, 460, 462 for Cutting Tools, 461 for Heavy Bearings, 461 for Highspeed Bearings, 461 for Lathe Centers, 461 for Redrawing Shells, 463 for Watchmakers, 738 Luhn's Washing Extract, 445 Luminous Paints, 494 Lunar Blend, 114 Lustrous Oxide on Silver, 641 Luster Paste, 464 Lutes, 32 M Machine Bronze, 58 Oil, 460 Machinery, to Clean, 200, 201, 203 to Keep it Bright, 624 Maoht's Yellow Metal, 63 Madder Lake Dye, 277 Magic, 610 Bottles, 126 Mirrors, 478 Magnesian Lemonade Powder, 627 Orgeat Powder, 627 Magnesium, 49 Citrate, 464 Flash-light Powders, 652 Magnetic Alloys, 71 Curves of Iron Pilings, their Fixation, 464 Oxide, 625 Magnolia Metal, 51 Mahogany, 784 Make Extract of Indigo Blue Dye, 268 Making Castings in Aluminum, 81 Malleable Brass, 54 Malt, Hot, 112 Malted Food, 359 MUk, 112, 474 Manganese Alloys, 72 Amalgams, Applications of, 87 Argentan, 70 Copper, 72 Manganin, 72 Mange Cures, 731 Manicure Preparations, 226 Mannheim Gold or Similor, 68 Mantles, 465 Manufacture of Alcohol, 674 of Cheese, 174 of Chewing Gum, 178 of Compounds Imitating Ivory, Shell, etc., 429 of Composite Parafiine Can- dles, 145 of Glue, 10 of Matches, 465 of Pigments, 555 Manufacturing Varnish Hints, 715 Manures, 337 Manuscript Copying, 223 Maple, 784 Maraschino Liqueur, 770 Marble, Artificial, 699 Cements, 16 Cleaning, 196 Colors, 699 Etching, 327 Faintingjon, 488 J Marble, Polishing, 593 Slabs, Cement for, 16 Marbling Crayons, 247 Paper for Books, 505 Margerine, 143 Marine Glue, 13 Paint to Resist Sea Water, 498 Marking Fluid, 465 or Labeling Inks, 407 Maroon Dye for Woolens, 280 Lake Dye, 277 Massage Application, 233 Balls, 233 Creams, 233 Skin Foods, 233 Soaps, 647 Mastic Lac, 441 Mat Aluminum, 81 Gilding, 579 Mats for Metals, 470 Matches, 465 Match Marks on Paint, 195 Phosphorus, Substitute for, 523 Materials, 172 for Concrete Building Blocks, 691 Matrix for Medals, Coins, etc., 467 Matt Etching of Copper, 323 Matzoon, 468 May Bowl or May Wine, 770 Mead, 468 Meadow Saffron Poison, 95 Measures, 760 to Clean, 204 Measuring the Weight of Ice, 402 Meat Extract Containing Albu- men, 361 Preservatives, 359, 360 ■ Products (Adulterated), 357 Medallion Metal, 62 Medal Impressions, 467 Medals, to Clean, 199 Medical Paste, 37 Medicated Cough Drops, 217 Massage Balls, 233 Soaps, 647 Medicinal Wines, 771 Medicine Doses, 265 Meerschaum, 469 Cements, 30 Repairing, 27 Mending Celluloid, 161 Porcelain by Riveting, 601 Menthol Cough Drops, 217 Tooth Powder, 253 Mercury, Poison, 95 Salves, 487 Stains, to Remove, 186 Metacarbol Developer, 527 Metal and Paper Glue, 14 Browning by Oxidation, 583 Cements, 25 Cleaning, 199 FoU, 474 Glass and Porcelain Cement, 25 Inlaying, 249 Lipowitz, 65 Polishes, 595 Protectives, 624 Temperature of, 152 Type, 78 Varnishes, 725, 727 Waterproof Cements for, 21 Metallic Articles, Soldering of, 656 Cement, 163 Coffins, 71 Glazes on Enamels, 173 Luster on Pottery, 173 Stain, 783 Paper, 507 Soaps, 648 Metals and Their Treatment, 469 Brightening and Deadening, by Dipping, 469 Bronzmg, 567 Cements for, 21, 24 Coloring, 471 Etching Powder for, 324 Fusion Point of, 473 How to Attach to Rubber, 22 How to Bronze, 136 Securing Wood to, 37 Solution for Cleaning, 200 to Silver-plate, 588 Metric System of Weights and Measures, 759 Weights, 759 Meth, 468 Metheglin, 468 Method of Hardening Gypsum and Rendering it Weather- proof, 387 of Purifying Glue, 378 Methods of Preparing Rubber Plasters, 662 Methyl Salicylate, to Distinguish from Oil of Wintergreen, 771 Metol and Hydrochinon Devel- oper, 525 Metol-bicarbonate Developer, 525 Metol Developer, 524, 525 Mice Poison, 613 Microphotographs, 550 Milk, 354, 474 Milk as a Substitute for Celluloid, Bone, and Ivory, 148 Cucumber, 239 Extracts, 474 Powder for Cows, 732 Substitute, 475 to Preserve, 475, 606 Minargent, 64 Mineral Acids, Poison, 92 011,484 Waters, 739 Minofor Metal, 64 Mint Cordial, 765 Julep, 114 \ Mirror Alloys, 72 Mirror-lettering, 457 Mirror Polishes, 593 Silvering, 476 Mirrors, 476 Frosted, 375 to Clean, 209 to Prevent Dimming of, 374 Miscellaneous Tin Alloys, 78 Mite Killer, 422 Mixed Birdieed, 120, 729 Mixers, Concrete, 693 Mixing Castor Oil with Mineral Oils, 484 Mixture for Bums, 142 Mocking-bird Food, 120, 729 Mock Turtle Extract, 212 ModeUng Wax, 755 Modification of Milk for Infants, 473 Moisture, 426 Molding Sand, 478 Molds, 152 of Plaster, 564 Moles, 479 Montpelier Cough Drops, 217 Mordant for Cement Surfaces, 479 for Gold Size, 479 Morphine Poison, 95 Mortar, Asbestos, 479 Mosaic Gold, 68, 140 Silver, 140, 588 Mosquitoes, Remedies, 425 Moss Removers, 20* Moth Exterminators, 425 Paper, 607 Moths and Caterpillars, 423 INDEX 799 Motors. Anti-freszing Solution tor, 363 Mottled Soap, 654 Mountants, 479, 644 Mounting Drawings, etc., 479 Prints on Glass, 480 Mousset's Alloy, 76 Moutarde aux Epices, 215 des Jesuittes, 214 Mouth Antiseptics, 99 Washes, 258 Wash-tablets, 259 Moving Objects, How to Photo- graph Them, 548 Mucilage, 42 Commercial, 43 Creams, 238 of Acacia, 43 to Make Wood and Pasteboard Adhere to Metals, 43 Mulberry Dye for Silk, 272 Muriatic Acid Poison, 92 Mushroom Poison, 96 Music Boxes, 480 Muslin, Painting on, 488 Mustache Fixing Fluid, 480 Mustard, 214 Cakes, 214 Paper, 480 Vinegar, 215 Myrrh Mouth Wash, 258 Tooth Paste, 257 N Nadjy, 115 Nail-cleaning Washes, 227 Nail, Ingrowing, 481 Polishes, 226 Varnish, 227 Name Plates, Coating for, 501 Natural Glue for Cementing Por- celain, Crystal Glass, etc., 15 Lemon Juice, 316 Water, 739 Nature, Source and Manufacture of Pigments, 555 Neatsfoot Oil, 481 Needles, Anti-rust Paper for, 625 Negatives, How to Use Spoiled, 534 Ner^jne Ointment, 487 Nerve Paste, 481 Nets, 223 Neufchatel Cheese, 177 Neutral Tooth Powder, 255 New CeUuloid, 155 Mordant for Aniline Colors, 273 Production of Indigo, 281 Nickel Alloys, 76 Bronze, 70 Nickel-plating, 573 with the Battery, 573 Nickel-testing, 481 Nickel, to Clean, 200 to Remove Rust from, 199 Nickeled Surface, 589 Nickeling by Oxidation, 587 Test for, 589 NieUo, 683 Nitrate of Silver Poison, 95 Spots, 198 Nitric Acid Poison, 92 Stains to Remove, 185 Nitroglycerine, 329 Non-explosive Liquid Metal Pol- ish, 595 Non-masticating Insects, 423 Non-Poisonous Textile and Egg Dyes for Household Use, 275 Fly-papers, 347 Non-porous Corks, 224 Norfolk Cheese, 177 Normona, 115 Nose Putty, 230 Notes for Potters, Glass-, and Brick-makers, 164 Noyeau Powder, 628 Nut Candy Sticks, 216 Nutmeg Essence, 316 Nutwood Stain, 783 Nux Vomica Poison, 615 Oak, 775, 783 Graining, 494 Leather, Stains for, 455 Stain, 783 Wood Polish, 598 Odorless Disinfectants, 264 Odonter, 259 (Enanthic Ether as a Flavoring for Ginger Ale, 108 Oil, Carron, 242 Castor, 153 Clock, 482 Oilcloth, 459 Adhesives, 36 Oil Extinguisher, 341 for Firearms, 460 Grease-, Paint-spot Eradica- tors, 205 How to Pour Out, 153 Lubricating, 460 Neatsfoot, 481 of Ciimamon as an Antiseptic, 100 of Vitriol Poison, 92 Paintings, Lacquer for, 440 Protection for, 488 Prints, Reproduced, 223 Removers, 205 Solidified, 461 Stains for Hard Floors, 344 Suitable for Use with Gold, 485 Oils, 482 (Edible), Tests for, 355 for Harness, 451 Purification of, 335 Oilskins, 750 Oily Bottles, to Clean, 210 Ointments, 486 for Veterinary Purposes, 731 Oleaginous Stamping Colors, 679 Olein Soap, 664 Oleomargarine, 142 Old-fashioned Ginger Beer, 107 Lemonade, 110 Olive-oil Paste, 143 Onyx Cements, 16 Opium and All Its Compoimds, Poison, 95 Optical Lenses, Cleaning, 208 Orangeade, 110 Orange Bitters and Cordial, 762, 764 Drops, 216 Dye, 271 Extract, 316 Flower Water, 520 FrappS, 110 Peel, Soluble Extract, 316 Phosphate, 112 Ordinary Drab Dye, 281 Green Glass for Dispensing Bottles, 373 ' Negative Varnish, 544 Oreide (French Gold), 68 Orgeat Punch, 110 Ornamental Designs on Silver, 641 Ornaments of Iron, Blackening, 495 Orris and Rose Mouth Wash, 258 Ortol Developer, 527 Ox-gall Soap for Cleansing Silk, 654 Oxide, Magnetic, 625 of Chrome, 172 of Tin, 172 of Zinc Poison, 97 Oxidized Steel, 584 Oxidizing, 139 Processes, 581 Ozonatine, 44 Package Pop, 107 Wax, 755 Packing for Gasoline Pumps, 488 for Stuffing Boxes, 488 Packings, 488 Pads of Paper, 488, 602 Pain-subduing Ointment, 487 Paint, Acid-resisting, 10 Bases, 489 Brushes, 490 at Rest, 141 Cleaning, 140 Deadening, 491 Dryers, 492 for Bathtubs, 501 for Blackboards, 489 for Copper, 495 for Iron, 496 for Protecting Cement Against Acid, 9 Grease, 229 Peeling of, 601 Removed from Clothes, 192 Removers, 187 toPrevent Crawling of, 490 Varnish, and Enamel Remov- ers, 187 Painters' Putty, 607 Painting on Leather, 455 on Marble, 488 on Muslin, 488 Ornaments or Letters on Cloth and Paper, 488 Over Fresh Cement, 499 Processes, 488 Paintings, 488 to Clean, 195 Paints, 489 Dry Base for, 489 for Gold and Gilding, 492 for Metal Surfaces, 495 for Roofs and Roof Paper, 497 for Walls of Cement, Plaster, Hard Finish, etc., 498 for Wood, 500 Stains, etc., for Ships, 498 Waterproof and Weatherproof, 499 Pale Purple Gold, 383 Pale-yellow Soap, 662 Palladium Alloys, 73 Bearing Metal, 73 Gold, 69 Silver Alloy, 73 Palladiumizing, 683 Palms, their Care, 502 Panama Hat, How to Clean, 187 Paper, 502 and Metal Glue, 14 (Anti-rust) for Needles, 625 as Protection for Iron, 625 Blotting, 503 Box Glue, IS Celloidin, 504 Cements, 21 Disinfectant, 263 Fireproof, 344 Floor Covering, 506 Frosted, 374 Paperhangers' Pastes, 39 Paper Hygrometers, 402 Making, Blue Print, 536 on Glass, to Affix, 19 Pads, 602 800 INDEX Paper Pads, Glue for, 12 Photographic, 527 -sensitizing Processes, 536 Tickets Fastening to Glass, 19 Varnishes, 725 WatSrproofing, 505, 751 Papers, Igniting, 611 Papier-m&cM, 502 Paraffine, 507 Scented Cakes, 508 Paraffining of Floors, 345 Parchment and Paper, 502 Cement, 21 Paste, 37 Paris Green, 561 Red, 600 Salts, 264 Parisian Cement, 30 Parmesan Cheese, 177 . Parquet Floors, Renovating, Ho Polishes, 591 Passe-partout Framing, 508 Paste, Agar-agar, 37 Albumen, 37 Antiseptic, 90 Balkan, 38 Pasteboard Cement, 21 Deodorizers, 399 Paste, Elastic or Pliable, 39 for Affixing Cloth to Metal, 37J for Cleaning Glass, 208 for Fastening Leather to Desk Tops, etc., 36 for Making Paper Boxes, 16 for Paper, 37 for Parchment Paper, 37 for Removing Old Paint or Varnish Coats, 188 for Tissue Paper, 37 for Wall Paper, 39 Flour, 39 . , „, , „„ Ink to Write with Water, 416 Permanent, 38 ■ that will not Mold, 37 Venetian, 39 Pastes, 35 for Paperhangers, 39 for Polishing Metals, 595 for Silvering, 588 to Affix Labels to Tin, 39 Pastilles, Fumigating, 367 Pasting Celluloid on Wopd, 36 Paper Signs on Metal 36 Wood and Cardboard on Metal, 37 Pattern Letters and Figures, Al- loys for, 80 Paving Brick, Stain for, 166 Patent Leather, 451 Leather Dressings, 449 Polish, 633 Preserver, 453 Stains for, 452 Patina of Art Bronzes, 584 Oudizing Processes, 584 Patinas, 584 Peach Extract, 317 , Tint Rouge, 231 Pearls, to Clean, 208 Peeling of Paints, 501 Pegamoid, 509 Pencils, Antiseptic, 99 for Marking Glass, 374 Pen Metal, 74 Pens, Gold, 383 Peppermint as a Flavor, 252 Pepsin Phosphate, 112 Percentage Solution, 509, 704 Perfumed Ammonia Water, 91 Fumigating Pastilles, 367 Pastilles, 520 Perfumes, 366, 509 Coloring, 611 Directions for Making, 512 Fumigating, 366 for Hair Oils, 520 for Soap, 648 Permanent Patina for Copper, 585 Paste, 38 Perpetual Ink, 404 Perspiration Remedy, 233 Perspiring Hands, 233 Petrolatum Cold Cream, 226 Petroleum, 521 Briquettes, 622 Emulsion, 423 for Spinning, 522 Hair Washes, 390 Jellies and Solidified Lubri- eantSi 461 Soap, 648 Pewter, 75 Aging, 522 to Clean, 205 Phosphate Dental Cement, 163 of Casein and its Production, 149 Phosphor Bronze, 58 Phosphorescent Mass, 523 Photographers' Ointment, 487 Photographs, 554 Phosphorus Poison, 96, 614 Substitute, 523 Photographic Developing Papers, 627 Mountants, 41 Photographing on Silk, 540 Photographs Enlarged, 642 on Brooches, 651 Transparent, 545 Photography, 523 without Light, 154 Piano Polishes, 598 Piccalilli Sauce, 213 Pickle for Brass, 132 for Bronze, 138 for Copper, 221 for Dipping Brass, 132 Pickling Brass like Gold, 132 Iron Scrap before Enameling, 303 of German-silver Articles, 582 Process, 453 Spice, 214 Picric Acid Stains, 186 Picture Copjdng, 222 Postal Cards, 537 Transferrer, 251 Pictures, Glow, 522 Pigment Paper, 540 Pigments, 555 Pile Ointments, 561 Pinaud Eau de Quinine, 392 Pinchbeck Gold, 69 Pilieapple Essence, 317 Lemonade, 110 Pine Syrup, 320 Pine-tar Dandruff Shampoo, 389 Ping-pong Frapp^, 110 Pinion Alloy, 737 Pink CarboUzed Sanitary Powder, 263 Color on Silver, 642 Dye tor Cotton, 271 for Wool, 271 Pinkeye, 731 Pink Grease Paint, 229 Purple Gold, 383 Salve, 487 Soap, 652 Pins of Watches, 738 Pin Wheels, 609 Pipe-joint Cement, 162 Pipe Leaks, 446 to Color a Meerschaum, 4Ba Pipes, Rust-preventive for, 626 Pistachio Essence, 317 Plain Rubber Cement, 34 Plant Fertilizers, 336 Preservatives, 346 Plants, 661 Plaster, 561 , _ Articles, Repairing of, 27 Cast of Coins, 150 Casts, Preservation of, 565 for Foundry Models, 564 from Spent Gas Lime, 664 Grease, 463 Irritating, 486 Model Lubricant, 463 Mold, 152i 564 Objects, Cleaning of, 564 of Paris, Hardening, 32, 150, 564 Repairing, 27 Plastic Alloys, 64 and Elastic Composition, 168 Metal Compoffltion, 65 Modeling Clay, 184 Substances of Nitro-oeUuloae Base, 166 Polishing Paste, 600 ' Platina, Birmingham, 56 Plate Glass, Removing Putty, 206 Pewter, 75 Plates, Care of Photographic, 623 for Engraving, 71 Platine for Dresa Buttons, 80 Plating, 565 GildiDg and Electrotyping, 288 of Aluminum, 572 Platinizing, 586 Aluminum, 586 Copper and Brass, 686 Metals, 686 on Glass or Porcelain, 586 Platinotype Paper, 830 Platinum Alloys, 73 -gold Alloys for Dental Pu> poses, 74 Papers and Their Develop- ment, 529 Silver, 74 Solders, 666 Waste, to Separate Silver from, 641 Piatt's Chlorides, 264 Playing Cards, to Clean, 209 Plumbago, 460 Plumbers' Cement, 161 Plumes, 335 Plush, 590 to Remove Grease Spots from, 193 Poison Ivy, 96 Poisonous Fly-papers, 347 Mushrooms, 96 Poisons, Antidotes for, 92 Polish for Beechwood Furniture, 693 for Bronze Articles, 591 for Copper Articles, 691 for Fine Steel, 697 for Gilt Frames, 600 for Varnished Work, 195 Polishes, 690 Bone, 395 for Aluminum, 690 for Bars, Counters, etc., 590 for Brass, Bronze, Copper, etc., 590 for Floors, 591 for Furniture, 592 for Glass, 593 for Ivory, Bone, etc., 693 for Pianos, 696 for Silverware, 596 INDEX 801 Polishes, for Steel and Iron, 597 for the Laundry, 444 for Wood, 598 or Glazes for Laundry Work, 444 Polishing Agent, 599 Bricks, GOO Cloths, to Prepare, 599 Cream, 600 Mediums, 600 Pastes, 595 for the Nails, 227 Powders, 594 Soaps, 594 Polychroming of Figures, 501 Pomade, Putz, 203 Pomades, 277, 392 Colors for, 228 for the Lips, 226 Pomegranate Essence, 317 Poppy Oil, 484 -seed Oil, Bleaching of, 459 Porcelain, 601 How to Tell Pottery, 173 Letters, Cement for, 19 Production of Luster Colors, 172 Portland Cement, 162 Size Over, 30 Positive Colors, 556 Postal Cards, How to Make, 637 How to Make Sensitized, 539 Potassium Amalgams, Applica- tions of, 86 Silicate as a Cement, 19 Potato Starch, 680 Pottery, 173 and Porcelain, How to Tell, 173 Bodies and Glazes, 167 Metallic Luster on, 173 to Cut, 164 Poultry Applications, 419 Foods and Poultry Diseases and Their Rememes, 733 Lice Destroyer, 419 Wine, 771 Pounce, 189 Powdered Camphor in Perma- nent Form, 144 Cork as a Preservative, 606 Nail Polishes, 226 Powder, Blasting, 330 Face, 243 for Cleaning Gloves, 195 for Colored Fires, 609 for Gilding Metals, 579 for Hardening Iron, 427 Eoup, 734 to Keep Moths Away, 425 to Weld, Wroxight Iron at Pale- red Heat with Wrought Iron, 761 Powders for Stamping, 679 for the Toilet, 242 Pireservation and Use of Calcium Carbide, 144 of Belts, 105 of Carpets, 399 of Drawings, 266 of Eggs, 284 1 of Fats, 335 of Fishing Nets, 223 of Fresh Lemon Juice, 456 of Fruit Juices, 310 of Gum Solution, 44 of Meats, 359 of MUk, 475 of Plaster Casts, 565 of Syrups, 701 6f Wood, 776 of Yeast, 786 Preservative Fluid for Museums, 602 for Stuffed Animals, 602 Preservatives, 602 Preservatives, for Leather, 452 Prairie Oyster, 116 Preparation of Amalgams, 85 of Brick Colors, 165 of Carbolineum,147 of Catgut Sutures, 155 of Celluloid, 156 of Emulsions of Crude Petro- leum, 521 of Enamels, 308 of French Bronze, 136 of Syrups, 702 . of Uninflammable Celluloid, 157 Preparations of Copper Water, 221 Prepared Mustards of Commerce, 214 Preparing Bone for Fertilizer, 338 Preparing Emery for Lapping, 289 Preservative for Stone, 602 Preservatives for Paste, 38 for Shoe Soles, 633 for Zoological and Anatomical Specimens, 602 Preserved Strawberries, 605 Preserving Antiques, 98 Eggs with Lime, 285 Meat, a German Method, 361 Pressure Table, 704 Preventing the Peeling of Coat- ings for Iron, 427 the Putrefaction of Strong Glues, 11 Varnish from Crawling, 717 Prevention of Boiler Scale, 122 of Electrolysis, 123 of Fermentation, 765 of Foaming and Partial Cara- melization of Fruit Juices, 311 of Fogging, Dimming and , Clouding, 374 Prickly Heat, Applications for, 398 Priming Coat for Water Spots, 501 Iron, 495 Print Copying, 222 Psinting Ink, Savages, 409 Inks, 408 Oilcloth and Leather in Gold, 379 on Celluloid, 161 on Photographs, 554 Printing-out Paper, How to Sensi- tize, 539 Printing-roller Compositions, 617 Prints, their Preservation, 309 Process for Colored Glazes, 165- for Dyeing inJEQiaki Colors, 27S of Electroplating, 286 of Impregnating Fabrics with Celluloid, 161 Production of Consistent Mineral OUs, 484 of Lampblack, 441 of Luster Colors on Porcelain and Glazed Pottery, 172 of Minargent, 64 of Rainbow Colors on Metals, 568 of Substances Resembling Cel- luloid, 158 Properties of Amalgams, 85 of Concrete Blocks, Strength, 695 Protecting Boiler Plates from Scale, 122 Cement Against Acid, 9 Stuffed Furniture from Moths, 425 Protection for Cement Work, 162 for Oil Paintings, 488 Protection of Acetylene Appara- tus from Frost, 363 Protective Coating for Bright Iron Articles, 496 Prussio Acid, 93 Pumice Stone, 606 Pumice-stone Soap, 648 Pumillo Toilet Vinegar, 244 Punch, Claret, 112 Puncture Cement, 162 Purification of Benzine, 106 Purifying-air, 44 Purifying Oils and Fats. 335 Rancid Castor Oil, 153 Water, 740 Purple and Violet Dyes, 269 Dye, 269 for Cotton, 270 for Silk, 270 Ink, 416 of Cassius, 383 Putty, 606 Acid-proof, 607 for Attaching Sign-letters to Glass, 19 for Celluloid, 161 Nose, 230 Substitute for,. 608 to Remove, 206 Putz Pomade, 203 Pyrocatechin Developer, 526 Pyrogallic Acid Stains, 185 Pyrotechnics, 608, 610 Quadruple Extract Perfumery, 518 Quince Extract, 317 FUp, 115 Quick Dryer for Inks Used on Bookbinders' Cases, 410 Quick-drying Enamel Colors, 722 Quick-water, 66 Quilts, to Clean, 194 Rags for Cleaning, 194 Raapberryade Powder, 627 Raspberry Essences, 318 Lemonade, 110 Sour, 116 Syrup, 317, 318 Rat Poisons, 96, 613 Ratsbane Poison, 93 Ravigotte Mustard, 215 Razor. Paper, 503 Pastes, 509, 615 Recipes for Cold-stirred Toilet Soaps, 652 for Pottery and Brick Work, 167 for Soldering, 665 Recovering Glycerine from Soap Boiler's Lye, 378 Recovery of Tin and Iron in Tinned-plate Clippings. 707 Reoutting Old Files, 339 Red Birds, Food for, 729 Coloring of Copper, 221 Crimson and Pink Dyes, 270 Dye for Wool, 271 Furniture Paste, 592 GUding, 680 Gold Enamel, 67 Grease Paint, 229 IndeUble Inks, 406 Ink, 416 Patina, 585 Russia Leather Varnish, 449 Reducer for Gelatin Dry-plate Negatives, 535 802 INDEX Reducers, 552 Reducing Photographs, 542 Refiamg Linseed Oil, 4S4 of Potato Starch, 680 Refinishing Gas Fixtures, 130 Reflector Metal, 72 Refrigerants, 615 Refrigeration, 616 Refrigerators, Home-made, 616 their Care, 401 Regilding Mat Articles, 580 Reinking Typewriter Ribbons, 413 Relief Etching of Copper, Steel, •and Brass, 323 Ground for, 322 of Zinc, 323 Relishes, 213- Remedies Against Human Para- sites, 422 Mosquitoes, 425 for Dry Rot, 618 for Fetid Breath, 133 for Insect Bites, 417 Removable Binding, 141 Removal of Aniline-dye Stains from the Skin, 184 of Corns, 224 of Dirt from Paraffine, 508 of Heat Stains from Polished Wood, 776 of Iron from Drinking "Water, 741 of Musty Taste and Smell from Wine, 771 of Odors from Wooden Boxes, Chests, Drawers, etc., 398 of Paint from Clothing, 192 of Peruvian-balsam Stains, 194 of Picric-acid Stains, 186 of Rust, 199 Removing Acid Stains, 184 and Preventing Match Marks, 195 Egg Stains, 201 Glaze from Emery Wheels, 289 Grease Spots from Plush, 193 Inground Dirt, 235 Ink Stains, 189 Iron Riist from Muslin, 193 Odor from Pasteboard, 399 Oil Spots from Leather, 206 Oil Stains from Marble, 197 Old WaU Paper, 400 Paint from Wood, 188 Silver Stains, 209 Spots from Furniture, 206 the Gum of Sticky Fly-paper, 348 Varnish, etc., 188 Window Frost, 376 Woody Odor, 399 Rendering Paraffine Transparent, 507 Renovating a Camera, 553 Old Parquet Floors, 345 Renovation of Polished Surfaces of Wood, etc., 197 Repairing Broken Glass, 26 Hectographs, 396 Rubber Goods, 620 Replacing Rubies whose Settings have Deteriorated, 736 Replating, 588 with Battery, 573 Reproduction of Plaster Origi- nals, 565 Resilvering, 588 of Mirrors, 476 Restoring Photographs, 544 Tarnished Gold, 199 Restoration of Brass Articles, 132 of Old Prints, 309 Restoration of Spoiled Beer, 105 of the Color of Turquoises, 432 Retz Alloy, 64 Revolver Lubricants, 460 Rhubarb for Cholera, 180 Ribbon, Fimiigating, 366 Ribbons for Typewriters, 711 Rice Paste, 38 Rifle Lubricants, 460 Ring, How to Solder, 666 Rings on Metal, Producing Col- ored, 582 Riveting China, 179 Roach Exterminators, 425 Rock-candy Syrup, 702 Rockets, 609 Rockingham Glazes, 171 Rodinal Develoijer, 524 Roller Compositions for Printers, 617 Roman Candles, 609 Roof Paints, 497 Roofs, How to Lay, 397 Prevention of Leakage, 397 Room Deodorizer, 400 Rope Lubricants, 463 Ropes, 617 Waterproofing, 753 Roquefort Cheese, 177 Rose's Alloy, 64 Rose Cordial, 765 Cream, 115 Rose-Glycerine Soap, 652 Rosemary Water for the Hair, 389 Rose Mint, 115 Pink Dye, 278 Pomade, 227 Poudre de Riz Powder, 243 Powders, 230 Talc, 510 Rose-tint Glass, 371 Rosewood, 783 Stain, 783 Rosin, Shellac, and Wax Cement, 34 Soap as an Emulsifier, 289 Sticks, 260 Tests for, in Extracts, 356 Rottmanner's Beauty Water, 244 Rouge, 228, 229, 230 for Buff Wheels, 618 ' or Paris Red, 600 Palettes, 230 Powder, 600 Tablets, 230 Theater, 231 Roup Cures, 734 Royal FrappS, 114 Mist, 115 Rubber, 618 and Rubber Articles, 620 Wood Fastened, 22 Boots and Shoe Cement, 23 Cement for Cloth, 24 Cements, 22, 34 Gloves, Substitute for, 100 Testing, 622 Goods, Repairing, 620 Its Properties and Uses in Waterproofing, 743 Scraps, Treatment of, 621 Softening, 621 Stamps, 622 Varnishes, 724 Ruby Settings, 737 Rules for Varnishing, 717 Rum, Bay, 104 Ruoltz Metal, 64 Russet Leather Dressing, 449 Russian Leather, 454 Polishing Lac, 411 Rust Paints, 497 Paper, 625 Rust, Prevention for Iron Pipes, 625 Preventive for Tools, etc., 625 Removers, 193, 198 Preventives, 623 Rusty Pieces, to Separate, 625 S Saccharine in Food, 351 Sachet Powders, 509 Safety in Explosives, 330 Paper, 503 Paste for Matches, 467 Sage Cheese, 176 Salicyl, Sweet, 258 Salicylic Acid in Food, 349 Soap, 654 Saltpeter (Nitrate of Potash), 96 Salts, Effervescent, 626 Smelling, 628 Salve, 486 Sand, 628 Holes in Brass, 150 in Cast-brass Work, 150 Sand-lime Brick, 689 Sand Soap, 654 to Prevent Adhesion of Sand to Castings, 150 Sandstone Cements, 17 Coating, 10 to Remove Oil Spots from, 198 Sapo Durus, 654 Saponaceous Tooth Pastes, 257 Sarsaparilla, 629 Beer, 118 Extract, 318 Soluble Extract, 318 Sauces, Table, 213 Sausage Color, 358 Savage's Printing Ink, 409 Savine Poison, 96 Sawdust for Jewelers, 737 in Bran, 126 Saxon Blue Dye, 268 Scald Head, Soap for, 653 Scale for Photographic Reduc- tion, 542 in Boilers, 122 Insects, Extermination of, 423 on Orange Trees, 423 Pan Cleaner, 205 Scales and Tables, 547 Scalp Wash, 389 Scarlet Lake Dyes, 277 with Lac Dye, 271 SchiSmann's Asthma Powder, 101 Scissors Hardening, 6S5 Scotch Beer, 118 Scratch Brushing, 576 Screws, 629 Bluing, 682 in Watches, 738 Sealing (Burning) Trick, 611 Waxes, 755 Sea Sickness, 630 Seasonings, 213 Seed, Bird, 120 Seidlitz Salt, 628 Self-igniting Mantles, 465 Seltzer and Lemon, 110 Lemonade, 110 Water, 740 Separating Silver from Platinum Waste, 641 Serpents, Pharaoh's, 630 Serviettes Magiques, 596 Setting of Tools, 708 the Paint-brush Bristles, 141 Sewing-machine Oil, 461 Sewing Thread, Dressing for, 706 Shades of Red, etc., on Matt Gold Bijouterie, 431 Shading Pen, Ink for, 416 INDEX 803 Shampoo Lotions and Pastes, 392 Soap, 653 Sharpening Pastes, 509 Stones, 761 Shaving Paste, 630 Soaps, 649 Sheep, 734 fheet Brass, 54 beet-dips, 264 Sheet IVIetal Alloy, 71 Lubricant, 463 Shellac, 716 Bleaching, 631 ' Shell Cameos, 630 Imitation of, 429 Polishes, 593 Shells, Lubricants for Redrawing, 463 Sherbet, Egg, 115 Shims in Engine Brasses, 631 "Shio Liao," 32 Ship Compositions and Faints, 498 Shoe Dressings, 631 Leather Dressing, 450 Shoes, Blacking for, 631 Waterproofing, 750 Show Bottles, 127 Show-case Signs, 457 Show Cases, 635 to Prevent Dimming of, 374 Siberian Flip, 115 Siccatives, 636 Sign Letters, 639 Sign-letter Cements, 18 Signs on Show Cases, 457 to Repair Enameled, 304 Silicate of Oxychloride Cements, 35 Silicon Bronze, 61 Silk, 639 Gilding, 580 Sensitizers for Photographic Purposes, 540 Silver, 639 Alloys, 75 Amalgam, 88, 90 Bromide Paper, Toning Baths for, 541 Bronze, 71 Silver-coin Cleaner, 200 Silver, Copper, Nickel, and Zinc Alloys, 76 Etching Fluid for, 324 Fizz, 115 Foil Substitute, 474 Gray Dye for Straw, 269 Stain, 783 Imitation, 77 Ink, 416 Nitrate Spots, to Remove, 194 Test for Cottonseed Oil, 482 Ornamental Designs on, 641 Silver-plating, 574, 587 Silver Polishing Balls, 599 Solder for Enameling, 434 for Plated Metal, 434 Solders, 663 for Soldering Iron, Steel, Cast Iron, and Copper, 663 Testing, 642 to Clean, 204 to Color Pink, 642 to Recover Gold from, 382 Silvering by Oxidation, 583 Bronze, 687 Copper, 587 Glass Balls, Amalgam for, 90 Globes, 641 Globes, 476 of Mirrors, 476 Powder for Metals, 642 Silver-plating, and Desilvering, 587 Test for, 642 26 Silverware Cleaner, 200 Polishes, 596 Wrapping Paper for, 506 Silver-zmc, 76 Similor, 68 Simple Coloring of Bronze Pow- der, 134 Test for Red Lead and Orange Lead, 446 Way to Clean a Clock, 207 Sinews, Treatment of, 11 Sinks, to Clean, 202 Size Over Portland Cement, 31 Sizing, 38 Walls for Kalsomine, 436 Skin Bleaches, Balms, etc., 234 Chapped, 232 Skin-cleaning Preparations, 184 Skin Cream, 239 Discoloration, 235 Foods, 231, 234 Lotion, 234 Ointments, 487 Troubles, 644 Slate, 643 Dye for Silk, 269 for Straw Hats, 269 Parchment, 506 Slides for Lanterns, 532 Slipcoat or Soft Cheese, 177 Slugs on Roses, 423 Smaragdine, 45 Smelling Salts, 510, 628 Smokeless Powder, 329 • Vari-colored Fire, 609 Smut, Treatment for, 384 Snake Bites, 96, 643 Soap, Benzoin, 652 Soap-bubble Liquids, 655 Soap, Coloring, 644 for Surgical Instruments, 653 for Garment Cleaning, 645 Perfumes, 520 Polishes, 594 Powder, Borax, 649, 650 Substitutes, 653 Tooth, 257 Soaps, 644 and Pastes for Gloves, 195 for Clothing and Fabrics, 191 Soda, Coffee Cream, 113 Water, 111 Soda-water Fountain Drinks, 110 Sodium Amalgams, Applications of, 86 Salts, Effervescent, 627 Silicate as a Cement, 19 Soft Enamels for Iron, White, 305 German-silver Solder, 661 Glaze Brick, 165 Gold Solder, 434 Metal Castings, l51 Silver Solders, 664 Soldering Paste, 667 Solder, 664 Toilet Soaps, 652 Softening Celluloid, 160 Rubber, 621 Steel, 687 Solder, Copper, 659 for Articles which will not Bear a High Temperature, 666 for Brass Tubes, 659 for Fastening Brass to Tin, 659 for Gold, 434 for Iron, 665 for Silver Chains, 664 for Silver-plated Work, 664 for Silversmiths, 664 from Gold, to Remove, 383 Soldering, Acids, 656 a Ring Containing a Jewel, 436, 666 Block, 667 Soldering, Concealed, 665 of Metallic Articles, 656 of Metals, 6S5 Fluxes for, 660 Paste, 667 Powder for Steel, 665 • Recipes, 665 ' Solution for Steel, 665 without Heat, 666 Solders, 655 for Glass, 662 for Gold, 434 for Jewelers, 436 for Silver, 434 Solid Alcohol, 45 Cleansing Compound, 209 Linseed Oil, 483 Solidified Lubricants, 462 Soluble Blue, 443 Essence of Ginger, 314 Extract of Ginger Ale, 108 Gla^s, Bronzing with, 139 Gun Cotton, 332 Solution for Removing Nitrate of Silver Spots, 194 Solutions for Batteries, 104 for Cleaning M:etals, 200 Percentage, 704 Solvent for Iron Rust, 201] Solvents for Celluloid, 160 Sorel's Dental Cement, 163 Soup Herb Extract, 212 Sources of Potable Alcohol, 668 Sozodont, 256 Sparkling Wines, 767 Sparks from the Finger Tips, 611 Spatter Work, 457 Spavin Cures, 730 Spearmint Cordial, 765 Special Glazes for Bricks, 167 Specific Gravity Test, 382 Speculum Metal, 73 Spice for Fruit Compote, 605 Pickling, 214 Spices, Adulterated, 358 for Flavoring, 213 Spirit, 667, 678 Stains for Wood, 784 Spirits of Salts Poison, 92 Sponge Trick, Blazing, 611 Window Display, 679 Sponges, 678 as Filters, 339 Sterilization of, 679 to Clean, 210 Spot and Stain Removers, 185 Gilding, 580 Spots on Photographic Plates, 554 Sprain Washes, 730 Spray Solution, 103 Spring Cleaning, 207 Hardening, 685 Springs of Watches, 737 to Clean, 207 Sprinkling Powders for FUes, 421 Spruce Beer, 118, 119 Squibb's Diarrhoea Mixture, 179 Squill Poisons, 613 Stage Decorations, Fireproofing, 342 Stain, Brick, 133 for Blue Paving Bricks, 166 Stain-removing Soaps, 653 Stained Ceilings, 400 Staining Horns, 397 Stains, 781 for Lacquers, 438 for Oak Leather, 455 for Patent Leather, 452 for Wood, 781 Attacked by Alkalies or Acids, 785 Stamping, 679 Colors for Use with Rubber Stamps, 679 804 INDEX Stamping Liquids "and 'Powders, 679 Powder for Embroideriea, 680 Starch, 445, 680 in Jelly, Testa for, 357 Luster, 399 .Paste, 35 Powder, 681 Starch-producing Plants, 668 Statuary Bronze, 57 Statue Cleaning, 197 Statuettes, Cleaning of, 564 of Lipowitz Metal, 64 Steam Cylinder Lubricant, 463 Steel, 681 Alloys, 77 for Drawing Colors on, 80 for Locomotive Cylinders, 77 and Iron Polishes, 597 Blue and Old Silver on Brass, 130 Bluing, 682 Bronze, 61 Browning of, 682 Cleaner, 199 Coloring, 682 Distinguishing Iron from, 427 Dust as a Polishing Agent, 600 Etching, 323 on, 687 Fragments, 687 Steel-hardening Powder, 427 Steel, Oxidized, 584 Paint for, 497 Plating, 575 Polishes, 597 Soldering, 665 Testing, 687 to Clean, 199 Tools, to Put an Edge on, 686 Wire Hardening, 684 Stencil Inks, 411 Marking Ink that will Wash Out, 399 Stencils for Plotting Letters of Sign Plates, 296 Stereochromy, 688 Stereopticon Slides, 532 StereotyiJe Metal, 77 Sterilization of Sponges, 679 of "Water with Lime Chloride, 741 Sterling Silver, 434 Stick Pomade, 228 Sticky Fly-papers, 347 Fly Preparations, 421 Stilton Cheese, 177 Stone, Artificial, 688 Cements, 16 Cleaning, 196 Preservative for, 602 Stones for Sharpening, 708, 761 (Precious) , Imitation of, 370 Stoneware, 167 and Glass Cements, 26 "Waterproof Cements for, 21 Stopper Lubricants, 462, 700 Store "Windows, to Clean, 209 Stove, Blacking, 700 Cement, 162 Cleaners, 202 Lacquer, 441 Polish, 597, 700 "Varnishes, 727 Stramonium, Antidote for, 102 Strap Lubricant, 460 Strawberries, Preserved, 605 Strawberry Essence, 318 Juice, 318 Pomade, 227 Straw, Bleaching, 120 Fireproofing, 343 Straw-hat Cleaners, 187 Dyes, 394 Strengthened Filter Paper, 503 Stripping Gilt Articles, 205 Photograph Films, 553 Strong Adhesive Paste, 37, 39 Cement, 32 Twine, 223 Strontium Amalgams, 86 Stropping Pastes, 615 Strychnine or Nux Vomica, 96 Poisons, 614 Stuffed Animals, Preserved, 602 Styptic Paste of Gutta Percha, 701 Styptics, 701 Substances Used for Denaturing Alcohol, 678 Substitute for Benzine, 106 for Camphor in the Preparation of Celluloid and Applicable to Other Purposes, 157 for Cement on Grmder Disks, 31 for Cork, 224 for Fire Grenades, 341 for Gum Arabic, 386 for Putty, 608 for Rubber Gloves, 100 for Soldering Fluid, 659 Substitutes for Coffee, 210 for German Silver, 70 for "Wood, 785 Suffolk Cheese, 177 Sugar-producing Plants, 668 Sulphate of Zinc Poison, 97 Stains, to Remove, 186 Sulphuric Acid Poison, 92 Summer Drink, 118 Taffy, 217 Sun Bronze, 61 Cholera Mixture, 179 Sunburn Remedies, 240, 241 Sunflower-glycerine Soap, 653 Superfatted Liquid Lanolin-glyc- erine Soap, 647 Sutures of Catgut, 155 Swiss Cheese, 177 Sympathetic Inks, 412 Syndetieon, 32 Syrup of Bromoform, 134 (Raspberry), 317, Table, 704 Syrups, 321, 701 Szegedin Soap, 653 Table of Drops, 704 Sauces, 213 Showing Displacement on Ground Glass of Objects in Motion, 548 Top, Acid-proof, 9 Tables, 703 and Scales, 547 for Photographers, 547 Tablet Enameling, 293 Tablets, Chocolate Coated, 179 for;TVIouth "Wash, 259 Glue for, 13 Taffy, 217 Tailor's Chalk, 164 Talc Powder, 243 Talcum Powder, 243 Tallow, 334 Talmi Gold, 69 Tamping of Concrete Blocks, 695 Tan and Freckle Lotion, 241 and Russet Shoe Polishes, 633 Tank, 705 Tanned Leather, Dye for, 447 Tanning, 453 Hides, 454 Taps, to Remove Broken, 705 Tar Paints, 780 Tarragon Mustard, 215 Tar Syrup, 320 Tasteless Castor Oii, 153 Tattoo Marks, Removal of, 705 Tawing, 448 Tea Extract, 319 Hot, 113 Tea-rose Talc Powder, 243 Teeth, to "Whiten Discolored, 705 Telescope Metal, 71 Temperature for Brushes, 140 of Metal, 152 of "Water for Plants, 561 Tempered Copper, 221 Tempering Brass, 132 ' Steel, 683 Terra Cotta Cleaning, 197 Substitute, 705 Test for Glue, 10 Testing Nickel, 481 Rubber Gloves, 622 Siccatives, 637 SUver, 642 Steel, 687 Tests for Absolute Alcohol, 45 for Aniline in Figments, 560 for Cotton, 245 for Lubricants, 463 for Yeast, 786 Textile Cleaning, 191 Theater Rouge, 231 The Burning Banana, 611 Gum-bichromate Photoprint- ing Process, 546 Preservation of Books, 124 Prevention of the Inflamma- bility of Benzine, 106 Therapeutic Grouping of Medic- inal Plasters, 561 Thermometers, 706 Thread, 706 Three-color Process, 648 Throat Lozenges, 218 Thymol, 100 Ticks, Cattle Dip for, 419 Tiers-Argent Alloy, 75 Tilemakers' Notes, 164 Tin, 49, 706 Alloys, 77 Amalgams, Applications of, 87 Ash, 172 Bismuth, and Magnesium, 49 Bronzing, 567 Chloride of Tin, Poison, 97 Tinctures for Perfumes, 513 Tin, Etching Fluid for, 324 Tinfoil, 707 Tin Foils for Capsules, 474 for "Wrapping Cheese, 474 Tin in Powder Form, 707 Tin-lead, 77 Alloys, 78 Tinned Surface, 589 Tinning, 584 by Oxidation, 584 Tin Plating by Electric Bath, 575 of Lead, 589 Tinseled Letters, or Chinese Painting on Glass, 458 Tin Silver-PIating, 589 Solders, 665 Statuettes, Buttons, etc., 78 "Varnishes, 727 Tipping Gold Pens, 383 Tire, 708 Cements, 23 Tissier's Metal, 64 Tissue Paper, Paste for, 37 To Ascertain whether an Article is Nickeled, Tinned, or Sil- vered, 589 Attach Glass Labels to Bottles, 41 Gold Leaf Permanently, 474 INDEX 805 Tobin Bronze, 61 To Blacken Aluminum, 81 Bleach Glue, 378 Tobacco Poison, 97 To Bronze Copper, 136 Burnish Gilt Work, 384 Caseharden Locally, 684 Cast Yellow Brass, 54 Cement Glass to Iron, 17 Clarify Liqueurs, 770 Solutions of Gelatin, Glues, etc., 370 Turbid Orange Flower Water, 512 Clean a Gas Stove, 202 Aluminum, 204 Articles of Nickel, 201 Brushes of Dry Paint, 188 Colored Leather, 186 Dull Gold, 204 Files, 205 Fire-gilt Articles, 185 Fura, 368 Gilt Frames, etc., 185 Gilt Objects, 203 Gold and Silver Lace, 193 Gununed Parts of Machin- ery, 203 Gummed-up Springs, 207 Jet Jewelry, 431 Lacquered Goods, 195 Linoleum, 206 Milk Glass, 209 Mirrors, 209 OUy Bottles, 210 Old Medals, 199 Painted Walls, 190 Paintings, 195 Petroleum Lamp Burners, 200 Playing Cards, 209 Polished Parts of Machines, 201 Quilts, 194 / Silver Ornaments, 201 Skins Used for Polishing Purposes, 186 Soldered Watch Cases, 207 Sponges, 210 Store Windows, 209 Tarnished Zinc, 205 the Tops ■ of Clocks in Re- pairing, 20 Very Soiled Hands, 185 Watch Chains, 206 Wool, 273 Zinc Articles, 203 Coat Brass Articles with Anti- mony Colors, 581 Color a Meerschaum Pipe, 469 Billiard Balls Red, 428 Bronze, 138 Butter, 359 Cheese, 359 Geld, 383 Iron Blue, 427 Ivory, 428 Conceal Soldering, 665 Copper Aluminum, 581 Copy Old.Letters, etc., 223 Cut Castile Soap, 644 Glass, 371 To Cut Glass under Water, 372 Pottery, 164 Toddy, Hot Soda, 112 To Detect Artificial Vanillin in Vanilla Extracts, 713 the Presence of Aniline in a Pigment, 560 Tonka in Vanilla Extract, 714 Determine the Covering Power of Pigments, 560 Dissolve Copper from Gold Articles, 382 ' To Distinguish Cotton from Linen, 246 Genuine Diamonds, 260 Glue and Other Adhesives, 378 Iron from Steel, 427 Steel from Iron, 687 Do Away with Wiping Dishes, 399 Drain a Refrigerator, 616 Drill Optical Glass, 372 Dy^ Copper Parts Violet and Orange, 221 Cotton Dark Brown, 280 Feathers, 282 Felt Goods, 281 Silk a Delicate Greenish Yel- low, 280 Silk Peacock Blue, 281 Stiffen, and Bleach Felt Hats, 273 Woolen Yams, etc.. Various Shades of Magenta, 280 Woolens with Blue de Lyons, 280 Eat Burning Coals, 612 Estimate Contents of a Circu- lar Tank, 705 Extract Oil Spots from Fin- ished Goods, 273 Shellac from Fur Hats, 394 Fasten Brass upon Glass, 17 Paper Tickets to Glass, 19 Rubber to Wood, 22 Fill Engraved Letters on Metal Signs, 457 Find the Nimiber of Carats, 432 Fire Paper, etc., by Breathing on it, 611 Fix Alcoholic Lacquers on Metallic Surfaces, 440 Dyes, 274 Gold Letters, etc., upon Glass, 18 Paper upon Polished Metal, 37 Iron in Stone, 162 Fuse Gold Dust, 384 Give a Brown Color to Brass, 130 a Green Color to Gold Jew- elry, 582 Brass a Golden Color, 577 Dark Inks a Bronze or Changeable Hue, 409 Grind Glass, 372 Harden a Hammer, 684 Hard-solder Parts Formerly Soldered with Tin Solder, 663 Impart the Aroma and Taste of Natural Butter to Mar- garine, 143 Improve Deadened Brass Parts 132 Increase the Toughness, Dens- ity, and Tenacity of Alumi- num, 83 Toilet Creams, 235 Milks, 239 Powders, 242 Soap Powder, 652 Toilet Soaps, 650 Vinegars, 244 Waters, 244, 519 To Keep Files Clean, 339 Flaxseed Free from Bugs, 424 Flies from Fresh Paint, 501 Ice, in Small Quantities, 403 India Ink Liquid, 407 Liquid Paint in Workable Condition, 501 Keep Machinery Bright, 624 Tolidol Developer, 52 To Loosen a Glass Stopper, 700 a Rusty Screw in a Watch Movement, 738 Tomato Bouillon Extract, 212 Tombac Volor on Brass, 130 To Make a Belt Pull, 106 a Clock Strike Correctly, 738 a Transparent Cement for Glass, 29 Cider, 180 Corks Impermeable and Acid-proof, 10 Fat Oil Gold Size, 382 Holes in Thin Glass, 372 Loose Nails in Walls Rigid, 399 or Enlarge a Dial Hole, 737 Plush Adhere to Metal, 590 Matt Gilt Articles, 432 Mend Grindstones, 386 Wedgwood Mortars, 29 Toning Baths, 540 for Silver Bromide Paper, 541 Black Inks, 409 Tonka Extract, 319 Its Detection in Vanilla Ex- tracts, 714 Tool Lubricant, 461 Setting, 708 Tools, Rust Prevention, 625 Toothache, 709 Tooth Cements, 163 Paste to be put in Collapsible Tubes, 257 Pastes, Powders, and Washes, 251 Powder for Children, 255 Powders and Pastes, 253 Soaps and Pastes, 257 Straightening, 737 To Overcome Odors in Freshly Prepared Rooms, 400 Paint Wrought Iron with Graphite, 496 Paste Paper on Smooth Iron, 37 Pickle Black Iron-plate Scrap Befbre Enameling, 305 Polish Delicate Objects, 599 Paintings on Wood, 600 ' Prepare Polishing Cloths, S99 Preserve Beef, 360 Furs, 368 Milk, 606 Steel from Rust, 199 Prevent CrawUng of Paints, 490 Dimming of Eyeglasses, etc., 376 Glue from Cracking, 10 Screws from Rusting and Becoming Fast, 629 Smoke from Flashlight, 552 the Adhesion of Modeling Sand to Castings, 150 the Trickling of Burning Candles, 145 Wood Warping, 781 Wooden .Vessels from Leak- ing, 446 Produce Fine Leaves of Metal, 473 Protect Papered Walls from Vermin, 401 Zinc Roofing from Rust, 626 Purify Bismuth, 380 Put an Edge on Steel Tools, 686 Quickly Remove a Ring from a Swollen Finger, 431 Reblack Clock Hands, 738 Recognize Whether an Article is Gilt, 38S Recover Gold-leaf Waste, 381 Reduce Engravings, 310 806 INDEX To Reduce Photographs, 548 Refine Board Sweepings, 432 Remedy Worn Pinions from Watches, 738 Remove a Name from a Dial, 207 Aniline Stains, 185 from Ceilings, etc., 190 Balsam Stains, 194 Black Letters from White Enameled Signs, 639 Burnt Oil froiii Hardened Steel, 686 Enamel and Tin Solder, 188 Fragments of Steel from Other Metals, 687 Finger Marks from Books, etc., 186 Glue from Glass, 208 Gold from Silver, 382 Grease Spots from Marble, 197 Hard Grease, Paint, etc., from Machinery, 200 Ink Stains on Silver, 201 Nitric-acid Stains, 185 Oil-paint Spots from Glass, 209 Oil-paint Spots from Sand- stones, 198 Old Enamel, 189 Old Oil, Paint, or Varnish Coats, 187 Paint, Varnish, etc., from Wood, 188 Putty, Grease, etc., from Plate Glass, 206 Pyro Stains from the Fin- gers, 555 Red (Aniline) Ink, 190 Rust from Instruments, 199 Rust from Iron Utensils, 198 Rust from Nickel, 199, 203 Silver Plating, 203 Silver Stains from White Fabrics, 193 Soft Solder from Gold, 383 Spots from Drawings, 206 Spots from Tracing Cloth, 192 Stains from the Hands, 184 Stains of Sulphate, 186 Strains in Metal by Heating, 686 Varnish from Metal, 188 Vegetable Growth from Buildings, 209 Water Stains from Varnished Furniture, 188 Vasehne Stains from Cloth- ing, 192 Render Aniline Colors Soluble in Water, 274 Fine Cracks in Tools Visible, 686 Gum Arabic More Adhesive, 43 Negatives Permanent, 553 Pale Gold Darker, 383 Shrunken Wooden Casks Watertight, 149 Window Panes Opaque, 375 Renew Old Silks, 274 Renovate and Brighten Russet and Yellow Shoes, 633 Brick Walls, 190 Old Oil Paintings, 488 Straw Hats, 187 Repair a Dial, etc., with Enamel Applied Cold, 737 a Repeating Clock-bell, 737 Enameled Signs, 304 Meerschaum Pipes, 469 Restore Brushes, 141 Patent Leather Dash, 452 To Restore Reddened Carbolic Acid, 147 the Color of a Gold or Gilt Dial, 207 Burnt Steel, 686 Tortoise-shell Polishes, 593 To Scale Cast Iron, 204 Scent Advertising Matter, 510 Separate Rusty Pieces, 625 Silver Brass, Bronze, Copper, 587 Glass Balls and Plate Glass, 587 Silver-plate Metals, 588 Soften Glaziers' Putty, 607 Horn, 397 Iron Castings, 427 Old Whitewash, 762 Solder a Piece of Hardened Steel, 665 Stop Leakage in Iron Hot- Water Pipes, 446 Sweeten Rancid Butter, 143 Take Boiling Lead in the Mouth, 612 Tell Genuine Meerschaum, 469 Temper Small Coil Springs and Tools, 683 Test Extract of Licorice, 458 Fruit Juices and Syrups for Anihne Colors, 321 Fruit Juices for Salicylic Acid, 321 the Color to See if it is Pre- cipitating, 277 Tighten a Ruby Pin, 738 Toughen China, 173 Transfer Designs, 710 Engravings, 710 Turn Blueprints Brown, 542 Utilize Drill Chips, 686 Touchstone, Aquafortis for the, 383 Toughening Leather, 455 To Weaken a Balance Spring, 738 Whiten Flannels, 446 Iron, 427 Widen a Jewel Hole, 431 Tracing-cloth Cleaners, 194 Tracing Cloth, Removing Spots from, 192 Tracing, How to Clean, 194 Paper, 503 Tragacanth, Mucilage of, 42 Transfer Processes, 710 Transparencies, 709 Transparent Candles, 145 Brick Glaze, 167 Ground Glass, 373 Photographs, 545 Soaps, 652 Trays, Varnish for, 727 Treacle Beer; 119 Treatment and Utilization of Rubber Scraps, 621 of Bunions, 224 of Carbolic-acid Burns, 147 of Cast-iron Grave Crosses, 202 of Corns, 225 of Damp Walls, 400 of Fresh Plaster, 564 of Newly Laid Linoleum, 459 of the Grindstone, 386 Tricks with Fire, 608 Triple Extract Perfumery, 518 Pewter, 75 Tubs: to Render Shrunken Tubs Water-tight, 149 Turmeric in Food, 352 Turpentine Stains, 784 Turquoises, Restoration of the Color of, 432 Turtle (Mock) Extract, 212 Twine, 711 Strong, 223 Two-solution Ink Remover, 189 Type Metal, 78 Typewriter Ribbon Inks, 413 Ribbons, 711 U Udder Inflammation, 731 Unclassified Alloys, SO Dyers' Recipes, 273 Unclean Lenses, 456 Uninflammable Celluloid, 157 United States Weights and Meas- ures, 758 Uniting Glass with Horn, 17 Rubber and Leather, 22 Universal Cement, 31 Cleaner, 209 Urine, Detection of Albumen, 44 Utensils, Capacities of, 703 to Remove Rust, 198 Utilization of Waste Material or By-products, 673 Valves, 711 Vanilla, 713 Extract, 319, 355 Substitute, 714 Vanillin, 713 Vaseline Pomade, 228 Stains, to Remove, 192 Vasolimentum, 728 Varnish and Paint Remover, 188 Bookbinders', 720 Brushes at Rest. 141 for Bicycles, 719 for Blackboards, 720 for Floors, 724 for Trays and Tinware, 727 Gums Used in Making, 715 How to Pour Out, 163 Making, Linseed Oil for, 483 Manufacturing Hints, 715 Removers, 187 Substitutes, 727 Varnished Paper, 506 Varnishes, 543, 714 Engravers', 723 Insulating, 426 Photographic Retouching, 543 Varnishing, Rules for, 717 Vat Enamels and Varnishes, 721 Vegetable Acids, Poison, 92 Vegetables, Canned, 352 Vehicle for Oil Colors, 560 Venetian Paste, 39 Vermilion Grease Paint, 229 Vermin Killer, 422 Very Hard Silver Solder, 663 Veterinary Dose Table, 729 Formulas, 728 Vichy, 740 Salt, 628 Violet Ammonia, 244, 245 Color for Ammonia, 91 Cream, 115 Dye for Silk or Wool, 270 for Straw Bonnets, 270 Flavor for Candy, 217 Ink, 417 Poudre de Riz Powder, 242 Sachet, 510 Smelling Salts, 510 Talc, 510 Powder, 243 Tooth Powder, 252 Water, 520 Witch Hazel, 245 Vinaigre Rouge, 244 Vinegar, 358, 734 Toilet, 244 Viscose, 159 Vogel's Composition Files, 64 Voice Lozenges, 219 Vulcanization of Eubber, 622 W Wagon and Axle Greases, 462 Wall Cleaners, 190 Wall-paper Dyes, 278 Removal of, 400 Wall-paper Paste, 39 Wall Priming, 501 Waterproofing, 741 Walls, Damp, 400 Hard-finished, 499 Walnut, 783 Warming Bottle, 127 Warping, Prevention of, 781 Warts, 736 Washes, Nail-cleaning, 227 Washing Blankets, 399 Brushes, 141 Fluids and Powders, 445 of Light Sills Goods, 639 Waste, Photographic, Its Dis- position, 534 Watch Chains, to Clean, 206 Watch-dial Cements, 20 Watch Gilding, 738 Watch-lid Cement, 20 Watchmakers' Alloys, 736 and Jewelers* Cleaning Prepa- rations, 206 Formulas, 736 OU, 738 Watch Manufacturers' Alloys, 736 Movements, Palladium Plating of, 583 Waterproof and Acid-proof Pastes, 38 Cements for Glass, Stoneware, and Metal, 21 Coatings, 742 Glues, 13 Harness Composition, 451 Ink, 417 Paints, 491 > Papers, 505 Putties, 608 Ropes, 753 Shoe Dre.ssings, 634 Stiffening for Straw Hats, 187 Vstrnish for Beach Shoes, 635 Wood, 753 Waterproofing, 741 Blue Prints, 741 Brick Arches, 741 Canvas, 742 Cellars, 400 Corks, 742 Fabrics, 742 Leather, 750 Paper, 751 Water- and Acid-resisting Paint, 499 Water-closets, Deodorants for, 263 Water, Copper, 221 Filters for, 339 Water-glass Cements, 19 Water Glass in Stereochromatic Painting, 688 Jackets, Anti-freezing Solutions for, 363 Natural and Artificial, 739 Purification, Alum Process of, 340 Spots, Priming for, 501 Stains, 784 INDEX Water Stirred Yellow, Scarlet and Colorless, 612 Water-tight Casks, 149 Glass, 373 Roofs, 373 "Water Tone" Platinum Paper, 529 to Freeze, 616 Varnish, 544 Waters, Toilet, 244 Wax, 753 Burning, Trick, 611 for Bottles, 553 for Ironing, 444 for Linoleum, 459 Paper, 505 Waxes for Floors, Furniture, etc., 754 Weather Forecasters, 756 Weathqrproofing, 499 Casts, 565 Weed Killers, 262 Weights and Measures, 757 of Eggs, 284 Weiss Beer, 119 Welding Compoxmd, 687 Powder to Weld Steel on Wrought Iron at Pale-red Heat, 761 Powders, 761, WestphaUan Cheese, 177 Wheel Grease, 462 Whetstones, 761 Whipped Cream, 247, 248 White Brass, 55 Bricks, 164 Coating for Signs, etc., 490 Cosmetique, 228 Face Powder, 243 Flint Glass Containing Lead, 373 Furniture, Enamel for, 722 Glass for Ordinary Molded Bottles, 373 Glazes, 167 White-gold Plates Without Sol- der, 384 White Grease Paints, 229 Ink, 417 Metals, 78 White-metal Alloys, 79 White Metals Based on Copper, 79 Based on Platinum, 79 Pine and Tar Syrup, 320 Petroleum Jelly, 462 Portland Cement, 162 Rose Perfumery, 518 Shoe Dressing, 635 Solder for Silver, 434 Stamping Ink, 417 for Embroider^, 411 Vitriol, Poison, 97 Whitewash, 761 to Remove, 190 Whiting, 761 Whooping-cough Remedies, 211 Wild-cherry Balsam, 103 Extract, 321 Wiltshire Cheese, 177 Window-cleaning Compound, 208 Window Display, 762 Panes, Cleaning, 208 Opaque, to Render, 375 Perfume, 762 Pohshes, 593 Windows, Frosted, 376 to Prevent Dinmung of, 376 Wine Color Dye, 270 Wines and Liquors, 762 Medicinal, 771 Removal of Musty Taste, 771 807 Winter Beverages, 117 Wintergreen, to Distinguish Methyl Salicylate from Oil of, 771 Wire Hardening, 684 Rope, 771 Witch-hazel Creams, 238 Jelly, 228 Violet, 245 Wood, 772 Acid-proof, 9 Cements, 26 Chlorine-proofing, 9 Fillers, 773 Fireproofing, 342 Wooden Gears, 463 Wood Gilding, 580 Pohshes, 598 Pulp, Fireproofing, 343 Renovators, 194, 197 Securing Metals to, 37 Stain for, 781 Substitutes for, 785 Warping, to Prevent, 781 Waterproofing, 753 Wood's Metal, 64 Woodwork, Cleaning, 194 Wool Oil, 485 Silk, or Straw Bleaching, 120 to Clean, 273 Woorara Poison, 97 Worcestershire Sauce, 213 Working of Sheet Aluminum, 83 Worm Powder for Stock, 732 WrappingPapertorSilverware,506 Wrinkles, Removal of, 231, 233 Writing Inks, 414 ' on Glass, 376, 405 on Ivory, Glass, etc., 405 on Zinc, 405 Restoring Faded, 786 Yama, 116 Yeast, 786 and Fertilizers, 339 Yellow Coloring for Beverages. 119 Dye for Cotton, 271 for Silk, 271 Hard Solders, 658 Ink, 417 Orange and Bronze Dyes, 271 Stain for Wood, 784 Ylang-Ylang Perfume, 518 Yolk of Egg as an Emulsifier, 290 York Cheese, 177 Zapon, 728 for Impregnating Paper, 506 Varnishes, 728 Zinc, 49 Alloys, 80 Amalgam for Electric Bat- teries, 89 for Dentists' Zinc, 163 Amalgams, Applications of, 87 Articles, Bronzmg, 136 to Clean, 203 Bronzing, 137, 567 Contact Silver-plating, 589 Etching, 323 GUding, 580 Zinc-Nickel, 80 Zinc Plates, Coppering, 573 Poison, 97 to Clean, 205 37 CATALOGUE Of the LATEST and BEST PRACTICAL and MECHANICAL BOOKS Including Automobile and Aviation Books Any of these books will be senfprepaid to any part of the world, ■on receipt of price. Remit by Draft, Postal Order, Express Order or Registered Letter Published and For Sale By The Norman W. Henley Publishing Co., 2 West 45th Street, New York, U.S.A. THE NORMAN W. HENLEY PUBLISHING CO. INDEX PAGES Air Brakes 21, 24 Arithmetic 14, 25, 31 Automobile Books 3, 4, 5, 6 Automobile Charts 6, 7 Automobile Ignition Systems 6 Automobile Lighting 5 Automobile Questions and Answers 4 Automobile Repairing 4 Automobile Starting Systems 5 Automobile Trouble Charts 5, 6 Automobile Welding 5 Aviation ' 7 Aviation Chart 7 Batteries, Storage , 5 Bevel Gear 19 Boiler-Room Chart 9 Brazing 7 Cams 19 Carburetion Trouble Chart 6 Change Gear 19 Charts 6, 7, 8 Coal 22 Coke f 9 Combustion 22 Compressed Air 10 Concrete 10, 11, 12 Concrete for Farm Use 11 Concrete for Shop Use 11 Cosmetics 27 Cyclecars 5 Dictionary 12 Dies 12, 13 Drawing 13, 14 Drawing for Plumbers 28 Drop Forging 13 Dynamo Building 14 Electric Bells 14 Electric Switchboards 14, 16 Electric Toy Making 15 Electric Wiring 14, 15, 16 Electricity 14, 15, 16, 17 Encyclopedia 24 E-T Air Brake 24 Every-day Engineering 34 Factory Management 17 Ford Automobile 3 Ford Trouble Chart 6 Formulas and Recipes 29 Fuel 17 Gas Construction 18 Gas Engines 18, 19 Gas Tractor 33 Gearing and Cams 19 Glossary of Aviation Terms 7, 12 Heating 31, 32 Horse-Power Chart 9 Hot- Water Heating 31, 32 House Wiring 15, 17 How to Run an Automobile 3 Hydraulics 5 Ice and Refrigeration 20 Ignition Systems 5 Ignition-Trouble Chart 6 India Rubber 30 Interchangeable Manufacturing 24 Inventions 20 Knots 20 Lathe Work 20 PAGES Link Motions 22 Liquid Air 21 Locomotive Boilers 22 Locomotive Breakdowns 22 Locomotive Engineering 21, 22, 23, 24 Machinist Book 24, 25, 26 Magazine, Mechanical 34 Manual Training 26 Marine Engineering 26 Marine Gasoline Engines 19 Mechanical Drawing 13, 14 Mechanical Magazine 34 Mechanical Movements 25 Metal Work 12, 13 Motorcycles 5, 6 Patents 20 Pattern Making 27 Perfumery 27 Perspective 13 Plumbing 28, 29 Producer Gas 19 Punches 13 Questions and Answers on Automobile 4 Questions on Heating 32 Railroad Accidents 23 Railroad Charts 9 Recipe Book 29 Refrigeration 20 Repairing Automobiles 4 Rope Work 20 Rubber 30 Rubber Stamps 30 Saw Filing 30 Saws, Management of 30 Sheet-Metal Works 12, 13 Shop Construction 25 Shop Management 25 Shop Practice 25 Shop Tools 25 Sketching Paper 14 Soldering 7 Splices and Rope Work 20 Steam Engineering 30, 31 Steam Heating 31, 32 Steel 32 Storage Batteries 5 Submarine Chart 9 Switchboards 14, 16 Tapers 21 Telegraphy, Wireless 17 Telephone 16 Thread Cutting 26 Tool Making 24 Toy Making 15 Train Rules 23 Tractive Power Chart 9 Tractor, Gas 33 Turbines 33 Vacuum Heating 32 Valve Setting 22 Ventilation 31 Watch Making !!!.!.!.! 33 Waterproofing 12 Welding with Oxy-acetylene Flame 5, 33 Wireless Telegraphy 17 Wiring ._ 14, 15 Wiring Diagrams 14 Any of these books promptly sent prepaid to any address In the world on receipt of price. HOW TO REMIT— By Postal Money Order, Express Mbney Order, Bank Draft or Registered Letter. CATALOGUE OF GOOD, PRACTICAL BOOKS AUTOMOBILES AND MOTORCYCLES The Modern Gasoline Automobile — Its Design, Construction, and Opera- tion, 1918 Edition. By Victor W. Pag:6, M.S.A.E. This is the most complete, practical and up-to-date treatise on gasoline automobiles and their component parts ever published. In the new remsed and enlarged 191S edition, all phases of automobile construction, operation and maintenance are lully and completely described, and in language anyone can understand. Every part of all types of automobiles, from light cycle- cars to heavy motor trucks and tractors, are described in a thorough manner, not only the automobile, but every item of it; eqmpment, accessories, tools needed, supplies and spare parts necessary for its upkeep, are fully discussed. It is clearly arid conciaely written by an expert familiar with every branch of the automobile industry and the originator of the practical system of self-education on technical subjects. It is a liberal edur cation in the automobile art, useful to all who motor for either business or pleasure. Anyone reading the incomparable treatise is in touch with all improvements that have been made in motor-car construction. All latest developments, such as highspeed aluminum motors and multiple valve and sleeve-valve engines, are considered in detail. The latest ignition, carburetor and lubrication practice is outlined. New forms of clmnge speed gears, and final power transmission systems, and all latest chassis improvements are shown and described. This book is xised in all leading automobile schools and is conceded to be the Standahd Treatise. The chapter on Starting and Lighting Systems has been greatly enlarged, and many automobile engineering featm-es that have long puzzled laymen are explained so clearly that the underlying principles can be understood by anyone. This book was first_ published six years ago and so much new matter has been added that it is nearly twice its original size. The only treatise covering various forms of war automobiles and recent developments in motor- truckjdesign as well as pleasure cars. This book is not too technical for the layman nor too elementary for the more ex-pert. It is an incomparable work of reference far home or school. 1,000 6x9 pages, nearly 1,000 illustrations, 12 folding plates. Cloth bound. Price $3.00 WHAT IS SAID OF THIS BOOK: " It is the best book on the Automobile seen up to date." — J. H. Pile, Associate Editor Auto- mobile Trade Journal. "Every Automobile Owner has use for a book of this character." — The Tradesman. "This book is superior to any treatise heretofore published on the subject." — The Inventive Age, " We know of no other volume that is so complete in all its departments, and in which the wide field of automobile construction with its mechanical intricacies is so plainly handled, both in the text and in the matter of illustrations." — Tlie Motorist. "The book is verjr thorough, a careful examination failing to disclose any point in connection with the automobile, its care and repair, to have been overlooked." — Iron Age. "Mr. PagS has done a great work, and benefit to the Automobile Field." — W. C. Hasford, Mgr. Y. M. C. A. Automobile School, Boston, Mass. " It is just the kind of a book a motorist needs if he wants to understand his car. — American Tkresherman. The Model T Ford Car, Its Construction, Operation and Sepah-. By Victor W. Pag:6, M.8.A.E. This is a complete instruction book. All parts of the Ford Model T Car are described and illustrated; the construction is fully described and operating principles made clear to everyone. Every Ford owner needs this practical book. You don't have to guess about the construction or where the trouble is, as it shows how to take all parts apart and how to locate and fix all faults The writer, Mr. Pag^, has operated a Ford car for many years and writes from actual knowledge. Among the. contents are: 1. The Ford Car: Its Parts and Their Functions. 2. The Engine and Auxiliary Groups. How the Engine Works— The Fuel Supply System— The Carburetor — Making the Ignition Spark — Cooling and Lubrication. 3. Detaib of Chassis. Change Speed Gear — Power Transmission — Differential Gear Action — Steering Gear— Front Axle — Frame and Springs — ^Brakes. 4. How to Drive and Care for the Ford. The Control System Explained— Starting the Motor- Driving the Car — Locatmg Roadside Troubles- Tire Repairs — Oiling the Chassis — ^Winter Care of Car. 5. Systematic Location of Troubles and Remedies. Faults in Engine — Faults in Carburetor — Ignition Troubles— Cooling and Lubrication System Detects — ^Adjustment of Transmission Gear — General Chassis Repairs. 95 illustrations, 300 pages, 2 large folding plates. Price $1.00 How to Bun an Automobile. By Victor W. Pag:^, M.S.A.E. This treatise gives concise instructions for starting and running all makes of gasoline auto- mobiles, how to care for them, and gives distinctive features of control. Describes every step for shifting gears, controlling engines, etc. Among the chapters contained are: I. — Automobile Parts and Their Functions. II.— General Starting and Driving Instruetxons. III.— Typical 1917 Control Systems. IV.— Care of Automobiles. 178 pages. 72 specially made illustrations. Price , $1.00 4 THE NORMAN W. HENLEY PUBLISHING CO. Automobile Repairing Made Easy. By Victor W. PagjS, M.S.A.E. A comprehenaive, practical exposition of every phase of modern automobile repairing prac- tice. Outlines every process incidental to motor car restoration. Gives plans for workshop construction, suggestions for equipment,- power needed, machinery and tools necessary to carr^ on business successfully. Tells how to overhaul and repair all parts of all auto- mobiles. Everything is explained so simpy . that motorists and students can acquire a full working knowledge of automobile repairing. This work starts with the engine, then considers carburetion, ignition, cooling and lubrication systems. The clutch, change speed gearing and transmission system are considered in detail. Contains instructions for repairing all types of axles, steering gears and other chassis parts. Many tables, short cuts in figuring and rules of practice are given for the mechanic. Explains fully valve and magneto timing, "tuning" engines, systematic location of trouble, repair of ball and roller bearings, shop kinks, first aid to injured and a multitude of subjects of interest to all in the garage and repair business. This book contains special instructions on electric starting, lighting and ignition systems, tire repairing and rebuilding, autogenous welding, brazing and soldering, heat treatment of steel, latest timing practice, eight and twelve-cylinder motors, etc. 5^x8. Cloth. 1,056 pages, 1,000 illus- trations, 11 folding plates. Price . . $3.00 WHAT IS SAID OF THIS BOOK: "'Automobile Repairing Made Easy' is the best book on the subject I have ever seen and the only book I ever saw that is of any value in a garage." — Fred Jeffrey, Martinsburg, Neb. "I wish to thank you fqr sending me a copy of 'Automobile Repairing Made Easy.' I do not think it could be excelled." — S. W. Gisriel, Director of Instruction, Y. M. C. A„ Phila- delphia, Pa. Questions and Answers Relating to Modern Automobile Construction, Driving and Repair. By Victor W. Pag:e, M.S.A.E. A practical self-instructor for students, mechanics and motorists, consisting of thirty-seven lessons in the form of questions and answers, written with special reference to the require- ments of the non-technical reader desiring easily understood, explanatory matter relating to all branches of automobiling. The subject-matter is absolutely correct and explained in simple language. If you can't answer all of the following questions, you need this work. The answers to these and over. 2,000 more are to be found in its pages. Give the name of all im- portant parts of an automobile and describe their functions. Describe action of latest types of kerosene carburetors. What is the difference between a "double" ignition system and a /dual" ignition system? Name parta of an induction coil. How are valves t-imed? What IS an electric motor starter and how does it work? What are advantages of worm drive gear- ing? Name all important, types of ball and roller bearings. What is a "three-quarter" float- ing axle? What is a two-speed axle?^ What is the Vulcan electric gear shift? Name the causes of lost power in automobiles. Describe all noises due to deranged mechanism and give causes* How can you adjust a carburetoF by the color of the exhaust gases? What causes "popping" in the carburetor? What tools and supplies are needed to equip a car? How do you drive various makes of cars? What is a differential lock and where is it used? Name different systems of wire wheel construction, etc., etc. A popular work at a popular price. 5Mx7M. Cloth. 650 pages, 350 illustrations, 3 folding plates. Price «1 ffA WHAT IS SAID OF THIS BOOK: *'If you own a car — get this book." — T}ie Glassworker. "Mr. Page has the faculty of making difficult subjects plain and understandable."— BristoZ Press. ""^e can name no writer better qualified to prepare a book of instruction on automobiles than Mr. Victor W. Page.' — Scientific American. "The best automobile catechism that has appeared.'* — Automobile Topics. "There are few men, even with long experience, who will not find this book useful Great pams have been taken to make it accurate. Special recommendation must be given to the illustrations, which have been made specially for the work. Such excellent books as this greatly assist m fully understanding your automobile." — Engineei-ing News, The Automoblllst's Pocket Companion and Expense Record. Arraneed bv Victor W. Pag:6, M.S.A.E. ^ This book is not only valuable as a convenient cost record but contains much information of value to motorists. Includes a condensed digest of auto laws of all States, a lubrication schedule, hints^ for c^re of storage battery^ and care of tires, location of road troubles, anti-freezing solutions, horse-power table, driving hints and many useful tables and recipes of interest to all motorists. Not a technical book in any sense of the word, just a collection of practical facts m simple language for the everyday motorist. Price .... $1 00 CATALOGUE OF GOOD, PRACTICAL BOOKS Modern Starting, Lighting and Ignition Systems. By Victor W. Pag£, M.E. This praotioal volume has been written with special reference to the requirements of the non- technical reader desmng -easily understood, explanatory matter, relating to all types of auto- mobile Ignition, starting and lighting systems. It can be understood by anyone, even without electrical knowledge, because elementary electrical principles are considered before any at- tempt IS made to discuss features of the various systems. These basic principles are clearly stated and illustrated with simple diagrams. All the leading systems of starting, lighiing and ignition have been described and illustrated with the co-operation of the experts employed by the manufacturers. Wiring diagrams are shown in both technical and non-technical forms. All symbols are fully explained. It is a comprehensive review of modern starting and ignition system practice, and includes a complete exposition of storage battery construction, care and repair. All types of starting motors, generators, magnetos, and all ignition or lighting system- umts are fully explained. Every person in the automobile business needs this volume. Among some of the subjects treated are: I. — Elementary Electricity; Current Production; Flow; Circuits; Measurements; Definitions; Magnetism; Battery Action ;Generator Action. II.— Battery Ignition Systems. III. — Magneto Ignition Systems. IV. — ^Elementary Exposition of Starting &;8tem Principles. V. — ^Typical Starting and Lighting Systems; Practical Application; Wiring Diagrams; A.uto-lite, Bijur, Delco, Dyneto-Entz, Gray and Davis, Remy, U. S. L., Westinghoiise, Bosoh-Rushmore, Genemotor, North-East, etc. VI. — Locating and Repairing Troubles in Start- ing and Lighting Systems. VII. — ^Auxiliary. Electric Systems; Gear-shifting by Electricity; Warmug Signals; Electric Brake; Entz-Transmission, Wagner-Saxon Circuits, Wagnei^ Studebaker Circuits. S)ix7J^. Cloth. 530 pages, 297 illustrations, 3 folding plates. Price $1.50 Automobile Welding With the Osy-Acetylene Flame. By M. Keith Dunham. This is the only complete book on the "why" and "how" of Welding with the Oxy-Acetylene Flame, and from its pages one can gain information so that he can weld anything that corned along. No one can afford to be without this concise book, as it first explains the apparatus to be used,_ and then covers in detail the actual welding of all automobile parts. The welding of aluminum, cast iron, steel, copper, brass and malleable iron is clearly explained, as well as the proper way to burn the carbon out of the combustion head of the motor, Ajnong the contents are: Chapter I. — ^Apparatus Knowledge. Chapter II. — Shop Equipment and Initial Procedure. Chapter III. — Cast Iron. Chapter IV. — ^Aluminum. Chapt^ V. — Steel. Chapter VI. — Malleable Iron, Copper, Brass, Bronze. Chapter VII. — Carbon Burn- ing and other Uses of Oxygen and Acetylene. Chapter VIII. — ^How tb Figufe Cost of Weld- ing. 167 pages, fully illustrated. Price $1.00 Storage Batteries Simplified. By Victor W. Pag^, M.S.A.E. A comprebensive treatise devoted entirely to secondary batteries and their maintenance^ repair and use. This is the most up-to-date book on this subject. Describes fully the Exide, Edison, Gould, Willard, U. S. L. and other storage battery forms in the types best suited for automobile, stationary and marine work. Nothing of importance has been omitted that the reader should know about the practical operation and care of storage batteries. No details have been slighted. The instructions for charging and care have been made as simple as possible. Brief "Synopsis of Chapters: Chapter I. — Storage Battery Developineht; Types of Storage Bat- teries; Lead Plate Types; The Edisoh Cell. Chapter II.—- Storage Batterjr Construction; Plates and Girds; Plants Plates; Faur6 Plates: Non-Lead Plates; Commercial Battery Designs. Chapter III. — Charging Methods; Rectifiers; Converters; Rheostats; Rules for charging. Chapter IV. — Battery Repairs and Maintenance. Chapter V. — Industrial Application of Storage Batteries; Glossary of Storage Battery Terms. 208 Pages. Very Fully Illustrated. Price $l.SOnet. Motorcycles, Side Cars and Cyclecars; their Construction, Management and Repair. By Victor W. Pag^i, M.S.A.E. The only complete work published for the motorcyclist and cyclecarist. Describes fully all leading types of machines, their design, construction, maintenance, operation and repair. This treatise outlines fully the operation of two- and four-cycle power plants and all ignition, carburetion and lubrication systems in detail. Describes^ all representative types of free engine clutches, variable speed gears and power transmission systeins. Gives complete in- structions for operating and repairing all types. Considers fully electric self-starting and lighting systems, all types of spring frames and spring forks and shows leading control methods. For those desiring technical inforination a complete series of tables and many formute to assist in designing are included. The work tells how to figure power needed to climb grades, overcome air resistance and attain high speeds. It shows how to select gear ratios, for various weights and powers, how to figure braking efficiency required, gives sizes of belts and chains to transmit power safely, alid shows how to design sprockets, belt pulleys, etc. This work also includes complete formulse for figuring hoirde-tiower, shows how d^anibmeter tests ara 6 THE NORMAN W. HENLEY PUBLISHING CO. made, defines relative efficiency of air and water-cooled engines, plain and anti-friction bear- ings and many other data of a practical, helpful, engineering nature. Remember that you get this information in addition to the practical description and instructions which alone are worth several times the price of the book. 650 pages. 360 specially made illustrations, 5 folding plates. Cloth. Price $1.50 WHAT IS SAID OF THIS BOOK: "Here is a book that should be in the cycle repairer's kit." — American Blacksmith. "The best way for any rider to thoroughly understand his machine, is to get a copy of thia book; it is worth many times its price." — Pacific Motorcyclist. AUTOMOBILE AND MOTORCYCLE CHARTS Chart. Location of Gasoline Engine Troubles Made Easy — A Chart Show- ing Sectional View of Gasoline Engine. CompUed by Victor W. Pag^, M.S.A.E. It shows clearly all parts of a typical four-cylinder gasoline engine of the four-cycle type. It outlines distinctly all parts liable to give trouble and also details the derangements apt to interfere with smooth engine operation. Valuable to students, motorists, mechanics, repairmen, garagemen, automobile salesmen, chauifeurSt motorboat owners, motor-truck and tractor drivers, aviators, motor-cyclists, ■and all others who have to do with gasoline power plants. It simplifies location of all engine troubles, and while it will prove invaluable to the novice, it can be used to advantage by the more expert. It should be on the walls of every public and private garage, automobile repair shop, club house or school. It can be carried in the automobile or pocket with ease, and will insure against loss of time when engine trouble manifests itself. _ This sectional view of engine is a complete review of all motor troubles. It is prepared by a practical motorist for all who motor. More information for the money than ever before offered. No details omitted. Size 25x38 inches. Securely mailed on receipt of 35 cents Chart. Location of Ford Engine Troubles Made Easy. Compiled by Victor "W. PagA, M.S.A.E. This shows clear sectional views depicting all portions of the Ford power plant and auxiliary groups. It outlines clearly all parts of the engine, fuel supply system, ignition group and cooling system, that are apt to give trouble, detailing all derangements that are liable to make an engine lose power, start hard or work irregularly. This chart is valuable to students, owners, and drivers, as it simplifies location of all engine faults. Of great advantage as an instructor for the novice, it can be used equally well by the more expert as a work of reference and review. It can be carried in the tool-box or pocket with ease and will save its cost in labor eliminated the first time engine trouble manifests itself. Prepared with special refer- ence to the average man's needs and is a practical review of all motor troubles because it is based on the actual experience of an automobile engineer-mechanic with the mechanism the chart describes. It enables the non-technical owner or operator of a Ford car to locate engine derangements by systematic search, guided "by easily recognized symptoms instead of by guesswork. It makes the average owner independent of the roadside repair shop when tour- ing. Must be seen to be appreciated. Size 25x38 inches. Printed on heavy bond paper ^"°« : 35 cents Chart. Lubrication of the Motor Car Chassis. Compiled by Victor W. Pag4, M.S.A.E. This chart presents the plan view of a typical six-cylinder chassis of standard design and all parts are clearly indicated that demand oil, also the frequency with which they must be lubricated and the kind of oil to use. A practical chart for all interested in motoi^car main- tenance. _Size 24x38 inches. Price og rants Chart. Location of Carbureton Troubles Made Easy. Compiled by Victor W. Pag£, M.S.A.E. This chart shows all parts of a typical pressure feed fuel supply system and gives causes of teouble, how to locate defects and means of remedying them. Size 24x38 inches ^"°^ ascents Chart. Location of Ignition System Troubles Made Easy. Compiled bv Victor W. Pag:6, M.S.A.E. ^ In this diagram all parts of a typical double igniti.n system using battery and magneto current are shown, and suggestions are given for readily finding ignition troubles and eliminating them when found. Size 24x38 inches. Price . . . 25 cpnlf« CATALOGUE OP GOOD, PRACTICAL BOOKS Chart, Location of Cooling and Lubrication System FaiUts. CompUed bv Victor W. Pag£, M.S.A.E. This composite diagram shows a typical automobile power plant using pump circulated water-cooling system and the most popular lubrication method: Gives suggestions for cur- §26^24x31 inch°^ and loss of power faults due to faulty action of the oiUng or cooling group. "°^ 35 cents Chart. Motorcycle Troubles Made Easy. Compiled by Victor W. Pag£, A chart showing sectional view of a single-cylinder gasoline engine. This chart simplifies location of all power-plant troubles. A single-cylinder motor is shown for simplicity It outlines distinctly all parts liable to give trouble and also details the derangements apt to "™""^ smooth engine operation. This chart will prove of value to all who have to do with the operation, repair or sale of motorcycles. No details omitted. Size 30x20 inches ^"^ 25 cents AVIATION Aviation Engines, their Design, Construction, Operation and Repair. By Lieut. Victor W. Pag^, Aviation Section, S.C.U.S.R. A practical work containing valuable instructions for aviation students, mechanicians, squadron engineering ofiSoers and all interested in the construction and upkeep of airplane power plants. The rapidly increasing interest in the study of aviation, and especially of the highly developed internal combustion engines that make mechanical flight possible, has created a demand for a text-book suitable for schools and home study that will clearly and concisely explain the workings of the various aircraft engines of foreign and domestic manufacture. This treatise, written by a recognized authority on all of the practical aspects of internal combustion engine^ construction, maintenance and repair fills the need as no other book does. The matter is logically arranged; all descriptive matter is simply expressed and copiously illustrated so that anyone can understand airplane engine operation and repair even if with- out previous mechanical training. This work is ii^valuable for anyone desiring to become an aviator or aviation mechanician. The latest rotary types, such as the Gnome, Monosoupape, and Le Rhone, are fully explained, as well as the recently developed Vee and radial types. The subjects of carburetion, ignition, cooling and lubrication also are covered in a thorough manner. The chapters on repair and maintenance are distinctive and found in no other book on this subject. Invaluable to the student, mechanic and soldier wishing to enter the aviation service. Not a technical book, but a practical, easily understood work of reference for all interested in aeronautical science. 576 octavo pages. 253 specially made engravings. Price . $3,00 net GLOSSARY OF AVIATION TERMS Termes D' Aviation, English-Frencli, French-Engllsli. Compiled by Lieuts. Victor W. PagiS, A.S., S.C.U.S.R., and Paul Montariol of the French Flying Corps, on duty on Signal Corps Aviation School, Mineola, L. I. A complete, well illustrated volume intended to facilitate conversation between English- speaking and French aviators. A very valuable book for all who are about to leave for duty overseas. Approved for publication by Major W. G. Kilner, S.C, U.S.C.O. Signal Corps Aviation School. Hazlehurst Field, Mineola, L. I. This book should be in every Aviator's and Mechanic's Kit for ready reference. 128 pages. Fully illustrated with detailed engravings. Price $1.00 Aviation Cliart. Location of Airpiane Power Plant Troubles Made Easy. By Lieut. Victor W. Pag^, A.S., S.C.U.S.R. A large chart outlining all parts of a typical airplane power plant, showing the points where trouble is ajpt to occur and suggesting remedies for the common defects. Intended espe- cially for Aviators and Aviation Mechanics on School and Field Duty. Price . . gQ ceutS BRAZING AND SOLDERING Brazing and Soldering. By Jamss F. Hobabt. The only book that shows you just how to handle any Sob of brazing or soldering that comei along; it tells you what mixture to use, how to make a furnace if you need one. Full of valu- able kinks. The fifth edition of this book has just been published, and to it much new mat- ter and a large number of tested formulae for all kinds of solders and fluxes have been added. Illustrated. Price US ceUtS 8 THE NORMAN W. HENLEY PUBLISHING CO. CHARTS Arlatlon Chart. Location of Airplane Power Plant Troubles Made Easy- By Lieut. Victor W. Page, A.S., S.C.U.S.R. A large chart outlining all parts of a typical airplane power plant, showing the points where trouble is apt to occur and suggesting remedies for the common defects. Intended especially for Aviators and Aviation Mechanics on School and Field Duty. Price .... 50 cents Gasoline Engine Troubles Made Easy— A Chart Showing Sectional View of Gasoline Engine. Compaed by Lieut. Victor W. Pag6, A.S., S.C.U.S.R. It shows clearly all parts of a typical four-cylinder gasoline engine of the four-cycle type. It outlines distinctly all parts liable to give trouble and also details the derangements apt to interfere with smooth engine operation. Valuable to studenis, motorists, mechanics, repairmen, garagemen, automobile salesmen, chauffeurs, motor-boat owners, motor-truck and tractor drivers, aviators, motor-cyeliste, and all others who have to do with gasoline power plants. It simpli^es location of all engine troubles, and while it will prove invaluable to the novice, it can be used to advantage by the more expert. It should be on the walls of every public and private garage, automobile repair shop, club house or school. It can be carried in the automobile or pocket with ease and will insure against loss of time when engine trouble mani- fests itself. This sectional view of engine is a complete review of all motor troubles. It is prepared by a practical motorist for all who motor. No detailsomitted. Size 25x38 inches. Price ;J5 CentS Lubrication of the Motor Car Chassis. This chart presents the plan view of a typical six-cylinder chassis of standard design and all ijarts are clearly indicated that demand oil, also .the frequency with which they must be lubricated and the kind of oil to use. A practical chart for all interested in motor-car main- tenance. Size 24x38 inches. Price 25 Cents Location of Carburetion Troubles Made Easy. This chart shows all parts of a typical pressure feed fuel supply system and ^ves causes of trouble, how to locate defects and means of remedying them. Size 24x38 inches. i'™e 35 cents Location of Ignition System Troubles Made Easy. In this chart all parts of a typical double ignition system using battery and magneto current are shown and suggestions are given for readily finding ignition troubles and eliminating them when found. Size 24x38 inches. Price 35 CentS Location of Cooling and Lubrication System Faiilts. This composite chart shows a typical automobile power plant using pxmip circulated water- cooling system and the most popular lubrication method. Gives suggestions for curing sjl overheating and loss of power faults due to faulty action of the oiling or cooling group. Size 24x38 inches. Price 35 ^^^^5 Motorcycle Troubles Made Easy— A Chart Showing Sectional View of Single- Cylinder Gasoline Engine. Compiled by Victor W. Pag£, M.S.A.E. This chart simplifies location of all power-plant troubles, and will prove invaluable to all who have to do with the operation, repair or sale of motorcycles. No details omitted. Size 25x38 mches. Price oe conts Location of Ford Engine Troubles Made Easy. Compiled by Victor W. Pag^, M.S.A.E. This shows clear sectional views depicting all portions of the Ford power plant and auxiliary groups. It outlines clearly all parts of the engine, fuel supply system, ignition group and coolmg system, that are apt to give trouble, detailing all derangements that are liable to make an engine lose power, start hard or work irregularly. This chart is valuable to students, owners, and drivers, as it simplifies location of all engine faults. Of great advantage as an instructor for the novice, it can be used equally well by the more expert as a work of reference and review. It can be carried in the toolbox or pocket with ease and will save its cost in labor eliminated the first time engine trouble manifests itself. Prepared with special refer- ence to the average man's needs and is a practical review of all motor troubles because it is based on the actual experience of an automobile engineer-mechanic with the mechanism the chart describes. It enables the non-technical owner or operator of a Ford car to locate en- gine derangements by systematic search, guided by easily recognized symptoms instead of by guesswork. It makes the average owner independent of the roadside repair shop when touring. Must be seen to be appreciated. Size 25x38 inches. Printed on heavy bond paper Price 25 cents CATALOGUE OF GOOD, PRACTICAL BOOKS Modera Submarine Chart — with Two Hundred Parts Numbered and Named. A cross-section view, showing clearly and distinctly all the interior of a Submarine of the latest type. You get more information from this chart, about the construction and opera- tion of a Submarine, than in any /other way. No details omitted — everything is accurate and to scale. It is absolutely correct in every detail, having been approved by Naval En- gineers. All the machinery and devices fitted in a modern Submarine Boat are shown, and to make the engraving more readily understood all the features are shown in operative form, with Officers and Men in the act of performing the duties assigned to them in service con- ditions. .This CHART IS REALLY AN ENCYCLOPEDIA OF A SUBMARINE. It ' is educational and worth many times its cost. Mailed in a Tube for 25 ceutS Box Car Chart. A chart showing the anatomy of a box car, having every part of the car numbered and its proper name given in a reference list. Price 35 CentS Gondola Car Chart. A chart showing the anatomy of a gondola car, having every part of the car numbered and its proper reference name given in a reference list. Price gg CeutS Passenger-Car Chart. A chart showing the- anatomy of a passenger-car, having every part of the car numbered and its proper name given in a reference list ^5 CentS Steel Hopper Bottom Coal Car. A chart showing the anatomy of a steel Hopper Bottom Coal Car, having every part of the car numbered and its proper name given in a reference list. Price 35 CeUtS Tractive Power Chart. A chart whereby you can find the tractive power or drawbar pull of any locomotive without making a figure. Shows what cj^linders are equal, how driving wheels and steam jjressure affect the power. What sized engine you need to exert a given drawbar pull or anything you desire in this line. Price 50 Cents Horse-Power Chart. Shows the horse-power of any stationary engine without calculation. . No matter what the cylinder diameter of stroke, the steam pressure of cut-off, the revolutions, or whether con- densing or non-condensing, it's all there. Easy to use, accurate, and saves time and calcu- lations. E&pecially useful to engineers and designers. Price 50 CentS Boiler Boom Chart. By Geo. L. Fowleb. A chart — size 14x28 inches — showing in isometric perspective the mechanisms belonging in a modern boiler room. The various parts are shown broken or removed, so that the internal construction is fully illustrated.. Each part is given a reference number, and these, with the corresponding name, are given in a glossary printed at the sides. This chart is really a dic- tionary of the boiler room — ^the names of more than 200 parts being given. Price • S5 ceutB COKE Modern Coking Practice, Including Analysis of Materials and Products. By J. E; Christopher and T. H. Byrom. This, the standard work on the Bubjeot, has Just been revised. It is a practical work for those engaged in Coke manufacture and the recovery of By-products. Fully illustrated with fold- ing plates. It has been the aim of the authors, in preparing this book, to produce one which shall be of use and benefit to those who are associated with, or interested in, the modem developments of the industry. Amonj^ the Chapters contained in Volume I are: Introduc- tion; Classification of Fuels; Impurities of Coals; Coal Washing; Sampling and Valuation of Coals, etc.; Power of Fuels; History of Coke Manufacture; Dev^elopments in the Coke Oven Design; Recent Types of Coke Ovens; Mechanical Appliances at Coke Ovens; Chem- ical and- Physical Examination of Coke. Volume II covers fully the subject of By-Products. Price, per volume , , . . . $3.00 net 10 THE NORMAN W. HENLEY PUBLISHING CO- COMPRESSED AIB Compressed Air In All Its Applications. By Gaedneb D. Hiscox. This is the most complete book on the subject of Air that has ever been issued, and its thirty- five chapters include about every phase of the subject one can thinlc of. _ It may be called an encyclopedia of compressed air. It is written by an expert, who, m its 668 pages, has dealt with the subject in a comprehensive manner, no phase of it being omitted. Includes the physical properties of air from a vacuum to its highest pressure, itfi thermodynamics, compression, transmission and uses as a motive power, in the Operation of Stationary and Portable Machinery, in Mining, Air Tools, Air Lifts, Pumping of Water, Acids, and Oils; the Air Blast for Cleaning and Painting the Sand Blast and its Work, and the Numerous Appliances in which Compressed Air is a Most Convenient and Economical Transmitter of .Power for Mechanical Work, Railway Propulsion, Refrigeration, and the Various Uses to which Compressed Air has been applied. Includes forty-four tables of the physical properties of air, its compression, expansion, and volumes required for various kinds of work, and a list of patents on compressed air from 1875 to date. Over 500 illustrations, 5th Edition, re- vised and enlarged. Cloth liound. Price $5.00 Half.Morocco. Price $6.50 CONCRETE Concrete Workers' Reference Books. A Series of Popular Handbooks for Concrete Users. Prepared by A. A. Houghton 50 cents The author, in preparing this Series, has not only treated on the iistial types of construction, hut explains and illustrates molds and systems thai are not patented, hut which are equal in value and often superior to those restricted hy patents. These molds are very easily and cheaply con- structed and embody simplicity, rapidity of operation, and the most successful results in the molded concrete. Each of these books is fully illustrated, and the subjects are exhaustively treated in plain English. Concrete Wall Forms. By A. A. Houghton, A new automatic wall clamp is illustrated with working drawings. Otter types of wall formst clamps, separators, etc., are also illustrated and explained. .(No. 1 of Series) Price 50 CentS Concrete Floors and Sidewalks. By A. A. Houghton. The molds for molding squares, hexagonal and many other styles of mosaic floor and side- walk blocks are fully illustrated and explained. (No. 2 of Series) Price . . . .50 CCntS Practical Concrete Silo Construction. By A. A. Houghton. Complete working drawingi^ and specifications are given for several styles of concrete silos, with illustrations of molds for monolithic and block silos. The tables, data, and information presented in this book are of the utmost value in planning and constructing all forms of con- crete silos. (No. 3 of Series) Price 50 centS Molding Concrete Chimneys, Slate and Roof Tiles. By A. A. Houghton. The manufacture of all types of concrete slate and roof tile is fully treated. Valuable data on all forms of reinforced concrete roofs are contained within its pages. The construction of concrete chimneys by block and monolithic systems is fully illustrated and described. A number of ornamental designs of chimney construction with molds are shown in this valuable treatise. (No. 4 of Series.) Price 5Q ccntS Molding and Curing Ornamental Concrete. By A. A. Houghton. The proper proportions of cement and aggregates for various finishes, also the method of thoroughly mixing and placing in the molds, are fully treated. An exhaustive treatise on this subject that every concrete worker will find of daily use and value. (No. 5 of Series.) P"« 50 cents Concrete Monuments, Mausoleums and Burial Vaults* By A. A. Houghton. The molding of concrete monuments to imitate the most expensive cut stone is explained in this treatise, with working drawings of easily built molds. Cutting inscriptions and de- signs are also fully treated. (No. 6 of Series.) Price 50 ccntS Molding Concrete Bathtubs, Aquariums and Natatoriums. By A. A. Houghton. Simple molds and.instruction are given for molding many styles of concrete bathtubs, swim- mmg-i)ools, etc. These molds are easily built and permit rapid and successful work. (No. 7 of Series.) Price ^^ ^^^^g CATALOGUE OF GOOD, PRACTICAL BOOKS 11 Concrete Bridges, Culverts and Sewers. By A. A. Hoitghton. A number of ornamental concrete bridges with illustrations of molds are given. A collapsible center or core for bridges, culverts and sewers is fully illustrated with detailed instructiona for building. (No. 8 of Series.) Price gQ centS Constructing Concrete Porches. By A. A. Hottghton. A number of designs with working drawings of molds are fully explained so any one can easily construct different styles of ornamental concrete porches without the purchase of expensive molds. (No. 9 of Series.) Price 50 CentS Molding Concrete Flower-Pots, Boxes, Jardinieres, Etc. By A. A. Houghton. The molds for producing many original designs of flower-pots, urns, flower-boxes, jardinieres, etc., are fully illustrated and explained, so the worker can easily construct and operate same. (No.tlO of Series.) Price gQ CentS Molding Concrete Fountains and Lawn Ornaments. By A. A. Houghton. The molding of a number of designs of lawn seats, curbing, hitching posts, pergolas, sun dials and other forms of ornamental concrete for the ornamentation of lawns and gardens, is fully illustrated and described. (No. 11 of Series.) Price 5Q ccuts Concrete from Sand Molds. By A. A. Houghton. A Practical Work treating on a process which has heretofore been held as a trade secret by the few who possessed it, and which will successfully mold every and any class of ornamental concrete work. The process of molding concrete with sand molds is of the utmost practical value, possessing the manifold advantages of a low cost of molds, the ease and rapidity of operation, perfect details to all ornamental designs, density and increased strength of the concrete, perfect curing of the work without attention and the easy removal of the molds regardless of any undercutting the design may have. 192 pages. Fully illustrated I*rice $;3.0Q Ornamental Concrete without Molds. By A. A. Houghton. The process for making ornamental concrete without molds has long been held as a secret, and now, for the first time, this process is given to the public. The book reveals the secret and is the only book published which explains a simple, practical method whereby the con- crete worker is enabled, by employing wood and metal templates of different designs, to mold or model in concrete any Cornice, Archivolt, Column, Pedestal, Base Cap, Urn or Pier in a monolithic form — right upon the job. These may be molded in units or blocks and then built up to suit the specifications demanded. This work is fully illustrated, with detailed engrav- ings. Price : . . . .$:3.00 Concrete for the Farm and in the Shop. By H. Colin Campbell, C.E., E.M. "Concrete for the Farm and in the Shop" is a new book from cover to cover, illustrating and describing in plain, simple language many of the numerous applications of concrete within the. range of tne home worker. Among the subjects treated are: Principles of Reinforcing; Methods of Protecting Concrete so as to Insure Proper Hardening; Home-made Mixers; ' Mixing by Hand and Machine; Form Construction, Described and Illustrated by Draw- ings and Photographs; Construction of Concrete Walls and Fences; Concrete Fence Posts; Concrete Gate Posts; Comer Posts; Clothes I-ine Posts; Grape Arbor Posts; Tanks; Troughs; Cisterns; Hog Wallows; Feeding Floors and Barnyard Pavements; Foundations; Well Curbs and Platforms; Indoor Floors; Sidewalks; Steps; Concrete Hotbeds and Cold Frames; Concrete Slab Roofs; Walls for Buildings; Repairing Leaks in Tanks and Cisterns; and all topics associated with these subjects as bearing upon securing the best results from concrete are dwelt upon at sufficient length in plain every-day English so that the inexperi- enced person desiring to undertake a piece of concrete construction can, by following the directions set forth in this book, secure 100 per cent, success every time. A number of con- venient and practical tables for estimating quantities, and some practical examples, are also given. (5x7.) 149 pages. 51 illustrations. Price 75 CCntS Popular Handbook for Cement and Concrete Users. By Myron H. Lewis. This is a concise treatise of the principles and methods employed in the manufacture and use of cement in all classes of modern works. The author has brought together in this work all the salient matter of interest to the user of concrete and its many diversified products. The matter is presented in logical and systematic order, clearly written, fully illustrated and free from involved mathematics. Everything of value to the concrete user is given, including kinds of cement employed in construction, concrete architecture, inspection and testing, waterproofing, coloring and painting, rules, tables, forking and cost data. The book com- prises thirty-three chapters, as follow: Introductory. Kinds of Cement and How They are Made. ■ Properties. Testing and Requirements of Hydraulic Cement. Concrete and Ite Properties. Sand, Brolfen Stone and Gravel for Concrete. How to Proportion the Materials. , How to Mix and Place Concrete. Forms of Concrete Construction. The Architectural and Artistic Possibilities of Concrete. Concrete Residences, Mortars, Plasters and Stucco, and How to Use Them. The Artistic Treatment of Concrete Surfaces. Concrete Building 12 THE NORMAN W. HENLEY PUBLISHING CO. Blocks. The Making of Ornamental Concrete. Concrete Pipes, Fences, Posts, etc. Essen- tial Features and Advantages of Reenforced Concrete. How to Design Reenforeed Con- crete Beams, Slabs and Columns. Explanations of the Methods and Principles in Designing Reenforced Concrete, Beams and Slabs. Systems of Reenforcement Employed. Reen- forced Concrete in Factory and General Building Construction. Concrete in Foundation Work. Concrete Retaining Walls, Abutments and Bulkheads. Concrete Arches and Arch Bridges. Concrete Beam and Girder Bridges. Concrete in Sewerage and Draining Works. Concrete Tanks, Dams and Reservoirs. Concrete Sidewalks, Curbs and Pavements. Concrete in Railroad Construction. The "Utility of Concrete on the Farm. The Waterproofing of Con- crete Structures. Grout of Liquid Concrete and Its Use. Inspection of Concrete Work. Cost of Concrete Work. Some of the special features of the book are: 1. — The Attention Paid to the Artistic and Architectural Side of Concrete Work. 2. — The Authoritative Treat- ment of the Problem of Waterproofing Concrete. 3. — ^An Excellent Summary of the Rules to be Followed in Concrete Construction. 4. — ^The Valuable Cost Data and Useful Tables given. A valuable Addition to the Library of Every Cement and Conorete.User. ,_Price . $3.50 WHAT IS SAID OF THIS BOOK: . "The field of Concrete Construction is well covered and the matter contained is well within the understanding of any person." — Engineering-Contracting. "Should be on the bookshelves of every contractor, engineer, and architect in the land." — National Builder, Waterproofing Concrete. By Myron H. Lewis. Modem Methods of Waterproofing Concrete and Other Structures. A condensed statement of the Principles, Rules, and Precautions to he Observed in Waterproofing and Dampproofing Structures and Structural Materials. Paper binding. Illustrated. Price .... 50 CCDtS DICTIONARIES ATlatlon Terms, Termes D'Aviation, English-French, French-English. Compiled by Lieuts. Victor W. Pag]S, A.S., S.C.U.S.R., and Paul Mon- TARioL, of the French Flying Corps, on duty on Signal Corps Aviation School, Mineola, L. I, The lists contained are confined to essentials, and special folding plates are included to show all important airplane parts. The lists are divided in four sections as follows: 1. — Flying Field Terms. 2. — The Airplane. 3. — The Engine. 4. — Tools and Shop Terms. A complete, well illustrated volume intended to facilitate conversation between English-speak- ing and French aviators. A very valuable book for all who are about to leave for duty over- Approved for publication by Major W. G. Kilner, S.C, U.S. CO. Signal Corps Aviation School, Hazelhurst Field, Mineola, L. I, This book should be in every Aviator's and Mechanic's Kit for ready reference. 128 pages, fully illustrated, with detailed engravings. Price . . £1.00 Standard Electrical Dictionary. By T. O'Conor Sloane. An indispensable work to all interested in electrical science. Suitable alike for the student and professional. A practical handbook of reference containing definitions of about 5,000 distinct words, terms and phrases. The definitions are terse and concise and include every term used in electrical science. Recently issued. An entirely new edition. Should be in the possession of all who desire to keep abreast with the progress of this branch of science. Complete, concise and convenient. 682 pages, 393 illustrations. Price $3.00 DIES— METAL WORK Dies: Their Construction and Use for the Modern Working of Sheet Metals. By J. v. WOODWORTH. A most useful book, and one which should be in the hands o£ all engaged in the press working of metala; treating on the Designing, Constructing, and Use of Tools, Fixtures and Devices, together with the manner in which they should be used in the Power Press, for the cheap and rapid production of the great variety of sheet-motal articles now in use. It is designed as a guide to the jjroduction of sheet-metal parts at the minimum of cost with the maximum of output. The hardening and tempering of Press tools and the classes of work which may be produced to the best advantage by the use of dies in the power press are fully treated. Its 515 illustrations show dies, press fixtures and sheet-metal working devices, the descnptions of which are so clear and practical that all metal-working mechanics will be able to understand how to design, construct and use them. Many of the dies and press fixtures treated were either constructed by the author or under his supervision. Others were built by skilful mechanics and are in use in large sh00 Electric Toy Maldng, Dynamo BuUding, and Electric Motor Construction. By Prof. T. O'Conor Sloane. This work treats of the making at home of electrical toys, electrical apparatus, motors, dynamos, and instruments in general, and is designed to bring within the reach of young and old the manufacture of genuine and useful electrical appliances. The work is especially designed for amateurs and young folks. Thousands of our young people are^ daily experimenting, and busily engaged in making elec- trical toys and apparatus of various kinds. The present work is just what is wanted to give the much needed information in a plain, practical manner, with illustrations to make easy the carrying out of the work. 20th Edition. Price $1.00 Practical Electricity. By Prof. T. O'Conor Sloane. This work of 768 pages was previously known as Sloane's Electricians' Hand Book, and_ is intended for the practical electrican who has to make things go. The entire field of electricity is covered within its pages. Among some of the subjects treated are: The Theory of the Electric Current and!^ Circuit, Electro-Chemistry, Primary Batteries, Storage Batteries, Generation and Utilization of Electric Powers, Alternating Current, Armature Winding, Dynamos and Motors, Motor Generators, Operation of the Central Station Switchboards, Safety Appliances, Distribution of Electric Eight and Power, Street Mains, Transformers, Arc and Incandescent Lighting, Electric Measurements, Photometry, Electric Railways, Telephony, Bell-Wiring, Electric-Plating;, Electric Heating, Wireless Telegraphy, etc. It contains no useless theory; everything is to the point. It teaches you just what you want to know about electricity. It is the standard work published on the subject. Forty-one chapters, .556 engravings. Price $^.50 Electricity Simplified. By Prof. T. O'Conor Sloane. The object of ^'Electricity Simplified" is to make _the subject as plain as possible and to show what the modern conception of electricity is; to show how two plates of different metal, immersed in acid, can send a message around the globe; to explain how a bundle of copper wire rotated by a steam engine can be the agent in lighting our streets, to tell what the volt, ohm and ampere are, and what high and low tension mean; and to answer the questions that perpetually arise in the mind in this age of electricity. 13th Edition. 172 pages. Illus- trated. Price $1.00 House wiring. By Thomas W. Poppe, This work describes and illustrates the actual installation of Electric Light Wiring,' the man- ner in which the work should be done, and the method of doing it. The book can be con- veniently carried in the pocket. It is intended for the Electrician, Helper and Apprentice. It solves all Wiring Problems and contains nothing that conflicts with the rulings of the National Board of Fire Underwriters. It gives just the information essential to the Success- ful Wiring of a Building. Among the subjects treated are: Locating the Meter. Panel- Boards. Switches. Plug Receptacles. Brackets. Ceiling Fixtures. The Meter Connec- tions The Feed Wires. 'The Steel Armored Cable System. The Flexible Steel Conduit System. The Ridig Conduit System. A digest of the National Board of Fire Underwriters' rules relating to metallic wiring systems. ' Various switchine arrangements explained and diagrammed. The easiest method of testing the Three- and Four-way circuits explained. The grounding of all metallic wiring systems and the reason for doing -so shown and explMned. The insulation of the metal parts of lamp fixtures and the reason for the same described and illustrated. 125 pages. 2nd Edition, revised and enlarged. Fully illustrated. Flexible cloth. Price , . . ^ , • • 50 cents 16 THE NORMAN W. HENLEY PUBLISHING CO^ How to Become a Successful Electrician* By Prof. T. O'Conor Sloane. Every young man who wishes to become a Buccessful electrician should read this book. It tells in simple language the surest and easiest way to become a successful electrician. The studies to be followed, methods of work, field of operation and the requirements of thesuc- cessful electrician are pointed out and fully explained. Everj;^ young engineer will find this an excellent stepping stone to more advanced works on electricity which he must master before success can be attained. Many young men become discouraged at the very outstart by at- tempting to read and study books that are far beyond their comprehension. This book serves as the connecting link between the rudiments taught in the public schools and the real study of electricity. It is interesting from cover to cover. 18th Revised Edition, just issued. 205 Illustrated._Price $1.00 filanagement of Dynamos. By Lttmmis-Paterson. A handbook of theory and practice. This work is arranged in three parts. The first part covers the elementary theory of the dynamo. The second part, the construction and action of the differeilt classes of dynamos in common use are described; while the third part relates to such matters as affect the practical management and working of dynamos and motors. 4th Edition. 292 pages, 117 illuBtrations. ]f*rice $1.50 Standard Electrical Dictionary. By T. O'Conor Sloane. An ihdispensdble work tb All iiiterefited in electrical science. Suitable alike for the student and professional. A practical handbook of reference containing definitions of about 5,000 distinct' words, terms and phrases. The definitions are terse and concise and include every term used in electrical science. Recently issued. An entirely new edition. Should be in the possession of all who desire to keep abreast with the progress of this branch of science. In. its arrangement and typographer the book is very convenient. The word or term defined is printed in black-faced t5^e, which readily catches the eye, while the body of the page is in smaller but distinct type. The definitions are well worded, and so as to be understood by the non-technical reader. The general plan seems to be to give an exact, concise definition, and then amplify and explain in a more popular way. Synonyms are also given, and references to other words and phrases are made. ^ A very complete and accurate index of fifty pages is at the end of the volume; and as this index contains all synonyms, and as all phrases arb indexed in every reasonable combination of words, reference to the proper place in the body bf the bc^ok id readily made. It iB difficult to decide how far a book of tms character is to keep the dictionary form, and to what extent it may assume the encyclopedia form. For some purposes, concise, exactly worded definitions are needed; for other purposes, more extencled descriptions are required. This book seeks to satisfy both demands, and does it with considerable success. 682 pages, 393 illustrations. 12th Edition. Price |3,QQ Storage Batteries Simplified. By Victor W. Pag^, M.E. A complete^ treatise on storage , battery operating principles, repairs" 'and applications. The greatly increasing application of storage oatteries m moaern engineering and mechanical work has created a deiiiand for a book that will consider this subject completely and exclu- sively. This is the most thorough and authoritative treatise ever published on this subject. It is written in easily understandable, non-technical language so that any one may grasp the basic principles of storage battery action as well as their practical industrial applications. All electric and gasoline automobiles use storage batteries. Every automobile repairman, • dealer Or salesman should have a good kiiowledge of maintenance and repair of these impor- tant elements of the motor car mechanism. This book not only tells how to charge, care for and rebuild storage batteries but also outlines all the industrial uses. Learn how they run street cars, locomotives and factory trucks. Get an understanding of the important functions thejr perform in submarine boats, isolated lighting plants, railway switch and signal systenm, marme applications, etc. This book tells how they are used in central station standby service, for starting automobile motors and in ignition systems. Every practical use of the modem storage battery is outlined in this treatise. 320 pages, fully illustrated. Price . . . $1,50 Switchboards. By William Baxter, Jr. This book appeals to every enfeiueer and elfictrieian who wants to know the practical side of things. It takes up all sorts and conditions of dynamos, connections and circuits, and shows by diagram and illustration just how the switchboard should be connected. Includes direct and alternating current boards, also those for arc lighting, incandescent and powet ow-cmts. Special treatmrat on high voltage boards for power transmission. 2nd Edition. 190 pagefi. Illustrated. Pnce SI 50 Telephone Construction, Installation, Wiring, Operation and Maintenance. By W. H. Radclipfe and H. C. Gushing. This book is intended for the amateur, the wireman, or the engineer who desires to establish a means of telephonic communication between the rooms of his home, office, or shop. It deals only with such things as may be of use to him rather than with theories Oives the principles of construction and operation of both the Bell and Independent instru- ments, approved methods of installing and wiring them; the means of protecting them from lightning and abnormal currents; their connection together for operation as series or bntong stations; and rules for their inspection and maintenance. Line wiring and the wirinE o^^i^°5 T u* ^^^""^^l telephone systems are also treated. Intricate mathematics are avoided, and all apparatus, circuits and systems are thoroughly described. The appendix CATALOGUE OF GOOD, PRACTICAL BOOKS 17 contains definitions of units and terms used in the text. Selected wiring tables, which are very .helpful, are also included. Among the subjects treated are Construction, Operation, and Installation of Telephone Instruments; Inspection and Maintenance of Telephone Instru- ments; Telephone Line Wiring; Testing Telephone Line Wires and Cables; Wiring and Operation of Special Telephone Systems, etc. 2nd Edition, Revised and Enlarged. 223 pages, 154 illustrations $1.00 Wireless Telegraphy and Telephony Simply Explained. By Alfred P. Morgan. This is undoubtedly one of the most complete and comprehensible treatises on the subject ever published, and a close study of its pages will enable one to master all the details of tht wireless transmission of messages. The author has filled a long-felt want and has succeeded in furnishing a lucid, comprehensible explanation in simple language of the theory and practice of wireless telegraphy and telephony. Among the contents are: Introductory; Wireless Transmission and Reception — The Aerial System, Earth Connections — The Transmitting Apparatus, Spark Coils and Transformers, Condensers, Helixes, Spark Gaps, Anchor Gaps, Aerial Switches — The Receiving Apparatus, Detectors, etc. — Tuning and Coupling, Tuning Coils, Loose Couplers, Variable Condensers, Directive Wave Systems — Miscellaneous Apparatus, Telephone Receivers, Range of Stations, Static Interference — ^Wireless Telephones, Sound and Sound Waves, The Vocal Cords and Ear — ^Wireless Telephone, How Sounds Are Changed into Electric Waves — ^Wireless Tele- phones, The Apparatus — Summary. 164 pages, 156 engravings. Price .,..-.. Sl.OO Wiring a House. By Herbert Pratt. Shows a house already built; tells_ just how to start about wiring it; where to begin; what wire to use; how to run it according to Insurance Rules; in fact, just the information you need. Directions apply equally to a shop. 4th Edition. Price jjg cents FACTORY MANAGEMENT, ETC. Modern Machine Shop Construction, Equipment and Management. By O. E. Perrigo, M.E. The only work published that describes the modem machine shop or manufacturing plant from the time the grass is growing on the site intended for it until the finished product is shipped. By a careful study of its thirty-two chapters the practical man may economically build, efficiently equip, and successfully manage the modern machine shop or manufacturing establishment. Just the book needed by those contemplating the erection of modern shop buildings, the rebuilding, and reorganization of old ones, or the introduction of modern shop methods, time and cost systems. It is a book written and illustrated by a practical shop man for practical shop men who are too busy to read theories and want facts. It is the most complete all-around book of its kind ever published. It is a practical book for practical men, from the apprentice in the shop to the president in the office. It minutely describes and il- lustrates the most simple and yet the most efficient time and cost system yet devised. 2nd Revised and Enlarged Edition, just issued. 384 pages, 219 illustrations. Price . . . ^,00 FUEL Combustion of Coal and the Prevention of Smolce. By Wm. M. Barr. This book has been prepared with special reference to the generation of heat by the com- bustion of the common fuels found in the United States.and deals particularly with the con- ditions necessary to the economic and smokeless combustion of bituminous coals in Stationary and Locomotive Steam Boilers. ' _ ^ The presentation of this important subject is systematic and progressive. The arrangement of the book is in a series of practical questions to which are appended accurate answers, which describe in language, free from technicalities, the several processes involved in the furnace combustion of American fuels; it clearly states the essential requisites for perfect combustion, and points out the best methods for furnace construction for obtaining the greatest quantity of heat from any given quality of coal. Nearly 350 pages, fully illustrated. Price . . $1.00 Smolce Prevention and Fuel Economy. By Booth and Kershaw. A complete treatise for all interested in smoke prevention and combustion, being based on the German work of Ernst SchmatoUa, but it is more than a mere translation of the German treatise, much being added. The authors show as briefly as possible the principles of fuel combustion, the methods which have been and are at present in use, as well as the proper scientific methods for obtaining all the energy in the coal and, burning it without smoke. Considerable space is also given to the examination of the waste gases, and several of the representative English and American mechanical stoker and similar appliances are described. The losses carried away in the waste gases are thoroughly analyzed and discussed in the Ap- pendix, and abstracts are also here given of various patents on combustion apparatus. The book is complete and contains much of value to all who have charge of large plants. 194 pages. Illustrated. Price $3.50 18 THE NORMAN W. HENLEY PUBLISHING CO. GAS ENGINES AND GAS Gas, Gasoline and OU Engines. By Gardner D. Hiscox. Revised by Victor W. Pag£, M.E. Just issued New 1918 Edition, Revised and Enlarged. Every user of a gas engine needs this book. Simple, instructive and right up-to-date. The only complete work on the subject. Tells all about internal combustion engineering, treating _ exhaustively on the design, con- struction and practical application of all forms of gas, gasoline, kerosene and crude petroleum- oil engines. Describes minutely all auxiliary systems, such as lubrication, carburetion and ignition. Considers the theory and management of all forms of explosive motors for sta- tionary and marine work, automobiles, aeroplanes and motor-cycles. Includes also Producer Gas and Its Production. Invaluable instructions for all students, gas-engine owners, gas- engineers, patent experts, designers, mechanics, draftsmen and all having to do with the modern power. Illustrated by over 400 engravings, many specially made from engineering drawings, all in correct proportion. 650 pages, 435 engravings. Price .... $S>50 net The Gasoline Engine on tlie Farm: Its Operation, Sepair and Uses. By !Xeno W. Putnam. This is a practical treatise on the Gasoline and Kerosene En^ne intendedfor the man who wants to know just how to manage his engine and how to apply it to all kinds of farm work to the best advantage. This book abounds with hints and helps for the farm and suggestions for the home and house- wife. There is so much of value in this book that it is impossible to adequately describe it in such small space. Suffice to say that it is the kind of a book every farmer will appreciate and every farm home ought to have. Includes selecting the most suitable engine for farm work, its most convenient and efficient installation, with chapters on troubles, their remedies, and how to avoid them. The care and management of the farm tractor in plowing, harrowing, harvesting and road grading are fully covered; also plain directions are given for handling the tractor on the road. Special attention is given to relieving farm life of its drudgery by applying power to the disagreeable small tasks which must otherwise be done by hand. Many home-made contrivances for cutting wood, supplying kitchen, garden, and barn with water, loading, hauling and unloading hay, delivering grain to the bins or the feed trough are in- cluded; also full directions for making the engine milk the cows, churn, wash, sweep the house and clean the windows, etc. Very fully illustrated with drawings of working parts and cuts showing Stationary, Portable and Tractor Engines doing all kinds of farm work. All money-making farms utilize power. Learn how to utilize power by reading the pages of this book. It is an aid to the result getter, invaluable to the up-to-date farmer, student, black- smith, implement dealer and, in fact, all who can apply practical knowledge of stationary gasoline engines or gas tractors to advantage. 530 pages. Nearly 180 engravings. Price SS.PO WHAT IS SAID OF THIS BOOK: "Am much pleased with the book and find it to be very complete and up-to-date. I will heartily recommend it to students and farmers whom I think would stand in need of such a work, as I think it is an exceptionally good one." — A''. S. Gardiner, Prof, in Charge, Clemson Agr. College of S. C; Dept. of Agri. and Agri. Exp. Station, Clemson College, S. C. "I feel that Mr. Putnam's book covers the main points which a farmer should know." B T Burdick, Instructor in Agronomy, University of Vermont, Burlington, Vt. Gasoline Engines: Tlieir Operation, Use and Care. By A. Hyatt Vebrill, The simplest, latest and most comprehensive popular work published on Gasoline Engines, describing what the Gasoline Engine la; its construction and operation; how to install it' how to select It ; how to use it and how to remedy troubles encountered. Intended for Owners' Operators and Users of Gasoline Motors of all kinds. This work fully describes and illustrates the various types of Gasoline Engines used m Motor Boats, Motor Vehicles and Stationary Work The parts, accessories and appliances are described with chapters on ignition, fuel, lubrication" operation and engine troubles. Special attention is given to the care, operation and repair of motors, with, useful hints and suggestions on emergency repairs and makeshifts. A com- plete glossary of techmcal terms and an alphabetically arranged table of troubles and their symptoms form most valuable and unique features of this manual. Nearly every illustration in the book IS original, having been made by the author. Every page is full of interest and r±«;Hr,i '"'^.^ J*"* 5'°'' '='"'°°* "^""^^ *° be without. 275 pages, 152 specially mSe $l.aU Gas Engine Construction, or How to Build a Half-horsepower Gas Engine. By Parsell and Weed. A practical treatise of 300 pages describing the theory and principles of the action of Gas Engines of various types and, the design and construction of a half-horsepower G™Enghie with Illustrations of the work in actual progress, together with the dimensioned workfngdfaw- inge, giving clearly the sizes of the various details: for the student, the scientific °nvestieS and the amateur mechamc. This book treats of the subject more from S standpofnt of practice than that of theory The principles of operation of Gas Engines are c?ea'r?v and simply described, and then the actual construction of a half-horsepowef engine is taken UD Pri?e showing m detail the making of the Gas Engine. 3rd Edition. 300 pagra' • • $8.50 CATALOGUE OF GOOD, PRACTICAL BO OKS 19 How to Run and Install Two- and Four-Cycle Marine Gasoline Engines. By C. Von Culin. Revised and enlarged edition just issued. The object of this little book is to furnish a pocket instructor tor the beginner, the busy man who usee an engine for pleasure or profit, but who does not have the time or inclination for a technical book, but simply to thoroughly under- stand how to properly operate, install and care for his own engine. The index refers to each trouble, remedy, and subject alphabetically. Being a quick reference to find the cause, remedy and prevention for troubles, and to become an expert with his own engine. Pocket size Paper binding. Price gj ^g^^g Modern Gas Engines and Producer Gas Plants. By R. E. Mathot. A guide for the gas engine designer, user, and engineer in the construction, selection, purchase, installation, operation, and maintenance of gas engines. More than one book on gas engines has been written, but not one has thus far even encroached on the field covered by this book. Above all, Mr. Mathot's work is a practical guide. Recognizing the need of a volume that would assist the gas engine user in understanding thoroughly the motor upon which he depends for power, the author has discussed his subject without the help of any mathematics and with- out elaborate theoretical explanations. Every part of the gas engine is described in detail, tersely, clearly, with a thorough understanding of the requirements of the mechanic. Help- ful suggestions as to the purchase of an engine, its installation, care, and operation, form a most valuable feature of the work. 320 pages, 175 detailed illustrations. Price . . . S^.50 The Modern Gas Tractor. By Victor W. Pag£, M.E. A complete treatise describing all types and sizes of gasoline, kerosene and oil tractors. Con- siders design and construction exhaustively, gives complete instructions for care, operation and repair, outlines all practical applications on the roacl and in the field. The best and latest work on farm tractors and tractor power plants. A work needed by farmers, students, black- smiths, mechanics, salesmen, implement dealers, designers and engineers. 2nd Edition, Re- vised. 904 pages, 22S illustrations, 3 folding plates. Price $^.00 GEARING AND CAMS Bevel Gear Tables. By D. Ac. Engstbom. A book that will at once commend itself to mechanics and draftsmen. Does away with all the trigonometry and fancy figuring on bevel gears, and makes it easy for anyone to lay them out or make them just right. There are 36 full-page tables that show every necessary dimen- sion for all sizes or combinations you're apt to need. No puzzling, figuring or guessing. Gives placing distance, all the angles (including cutting angles), and the correct cutter to use. A copy of this prepares you for anything in the bevel-gear line. 3rd Edition. 66 pages. Price $1.00 Change Gear Devices. By Oscar E. Perrigo. A practical book for every designer, draftsman, and mechanic interested in the invention and development of the devices for feed changes on the different machines requiring such mechanism. All the necessary information on this subject is taken up, analyzed, classified, sifted, and con- centrated for the use of busy men who have not the time to go through the masses of irrelevant matter with which such a subject is usually encumbered and select such information as will be useful to them. _ _ . _ It shows just what has been done, how it has been done, when it was done, and who did it. It saves time in hunting up patent records and re-inventing old ideas. 88 pages. 3rd Edition. Price $1.00 Drafting of Cams. By Loms Rotjillion. The laying out of cams is a serious problem unless you knoTV how to go at it right. This puts you on the right road for practically any kind of cam you are likely to run up against. 3rd Edition. Price 25 CentS HYDRAULICS Hydraulic Engineering. By Gardner D. Hiscox. A treatise on the properties, power, and resources of water for all purposes. Including the measurement of streams, the flow of water in pipes or conduits; the horsepower of falling water, turbine and impact water-wheels, wave motors, centrifugal, reciprocating and air-lift pumps. With 300 figures and diagrams and 36 practical tables. AU-who are interested in water-works development will find this book a useful one, because it is an entirely practical treatise upon a subject of present importance and cannot fail in having a far-reaching influence, and for this reason should have a place in the working library of every engineer. Among the subjects treated are: Historical Hydraulics; Properties of Water; Measurement of the Flow of Streams; 20 THE NORMAN W. HENLEY PUBLISHING CO. Flow from Sub-surface Orifices and Nozzles; Flow of Water in Rpes; Siphons of Various Kinds; Dams and Great Storage Reservoirs; City and Town Water Supply; Wells and Their Reinforcement; Air-lift Methods of Raising Water; Artesian Wells; Irrigation of Arid Dis- tricts; Water Power; Water Wheels; Pumps and Pumping Machinery; Reciprocating Pumps; Hydraulic Power Transmission; Hydraulic Mining; Canals; Ditches; Conduits and Pipe Lines; Marir.e Hydraulics; Tidal and Sea Wave Power, etc. 320 pages. Price , . . $4,00 ICE AXD REFRIGERATION Pocketbook of Refrigeration and Ice Making. By A. J. Wallis-Tatlor. This is one of the latest and most comprehensive reference books published on the subject of refrigeration and cold storage. It explains the properties and refrigerating effect of the dif- ferent fluids in use, the management of refrigerating machinery and the construction and insu- lation of cold rooms with their required pipe surface for different degrees of cold; freezing mixtures and non-freezing brines, temperatures of cold rooms for all kinds of provisions, cold storage charges for all classes of goods, ice making and storage of ice, data and memoranda for constant reference by refrigerating engineers, with nearly one hundred tables containing valuable references to every fact and condition required in the installment and operation of a refrigerating plant. New edition just published. Price $1.50 INVENTIONS— PATENTS Inventors' Manual: How to Make a Patent Paj^. This is a book designed as a guide to inventors in perfecting their inventions, taking out their patents and disposing of them. It ia not in any sense a Patent Solicitor's Circular nor a Patent Broker's Advertisement. No advertisements of any description appear in the work. It is a book containing a quarter of a century's experience of a successful inventor, together with notes based upon the experience of many other inventors. Among the suDjects treated in this work are: How to Invent. How to Secure a Good Patent. Value of Good Invention. How to Exhibit an Invention. How to Interest Capital. How to Estimate the Value of a Patent. Value of Design Patents. Value of Foreign Patents. Value of Small Inventions. Advice on Selling Patents. Advice on the Formation of Stock Companies. Advice on the Formation of Limited Liability Companies. Advice on Disposing of Old Patents. Advice as to Patent Attorneys. Advice as to Selling Agents. Forms of Assignments. License and Contracts. State Laws Concerning Patent Rights. 1900 Censuf of the United States by Counts of Over 10,000 Population. Revised Edition. 120 pages ^" $1.00 KNOTS Knots, Splices and Eope Work. By A. Hyatt Veebill. This is a practical book giving complete and simple directions for making all the most useful and ornamental knots m common use, with chapters on Splicing, Pointing, Seizing Serving etc. This book is fully illustrated with 154 original engravings, which show how each knot) tie or splice is formed, and its appearance when finished. The book will be found of the greatest value to Campers, Yachtsmen, Travelers, Boy Scouts, in fact, to anyone having occasion to use or handle rope or knots for any purpose. The book ia thoroughly reliable and practical, and IS not only a guide, but a teacher. It is the standard work on the Bubiect. Among the Mntents are: 1. Cordage, Kinds of Rope. Construction of Rope, Parts of Rope Cable and Bolt Rope. Strength of Rope, Weight of Rope. 2. Simple Knots and Bends. Terms Used in Handling Rope., Seizmg Rope. 3. Ties and Hitches. 4. Noose, Loops and Mooring Knots. 5. Shortenings, Grommete and Salvages. 6. Lashings, Seizings and Splices. 7. Fancy Knots and Rope Work. 128 pages, 150 original engravings. 2nd Revised Edition ^""^ 75 cents LATHE WORK Latbe Design, Construction, and Operation, with Practical Examples of Lathe Work. By Oscar E. Pereigo. A new, revised edition, and the only complete American work on the subject, written bv a man who knows not only how work ought to be done, but who also knows how todo it and how to convey this knowledge to others. It is strictly up-to-date in its dMcriotPona tSd .lustrations; Lathe history and the relations of the latte to manSflSurSHre riven- also a description of the various devices for feeds and thread-cutting mechanisms from earlv efforts in this. direction to the present time. Lathe design is thoroughly diseased Tncffi mg back gearing, driving cones, thread-cutting gears, and all the essential Senta of the modern lathe. The classification of lathes is taken iroiriviii»thr»==„^*ioij'« 1 the several tyoes of lathes including, as if usuS un?ektood?en^Jn? Xs benchTa'tU speed lathes, forge lathes, gap lathes, pulley lathes, formina lathfw miiltinll^JS^^i^ t^H^' rapid-reduction lathes, precision lathei.'turre'i laffi. SedaTlith^?el^fflS^S iS) CATALOGUE OF GOOP, PRACTICAL BO OKS 21 etc. In addition to the complete exposition on construction and design, much practical matter on lathe installaticQ, care and operation has been incorporated in the enlarged new edition. All kinds of lathe attachments for drilling, milling, etc., are described and com- plete instructions are given to enable the novice machinist to grasp the art of lathe operation as well as the principles involved in design. A number of difficult machining operations are described at length and illustrated. The new edition has nearly 600 pages and 350 illus- trations. Price $2.50 WHAT IS SAID OF THIS BOOK: "This is a lathe book from beginning to end, and is just the kind of a book which one de- lights to consult — a masterly treatment of the subject in hand." — Engineering News. This work will be of exceptional interest to any one who is interested in lathe practice, as one very seldom sees such a complete treatise on a subject as this is on the lathe."— Cono- dian Machinery. Practical Metal Turning. By Joseph G. Hoenbe. A work of 404 pages, fully illustrated, covering in a comprehensive manner the modern prac- tice of machining metal parts in the lathe, including the regular engine lathe, its essential design, its uses, its tools, its attachments, and the manner of holding the work and perform- ing the operations. The modernized engine lathe, its methods, tools and great range of accu- rate work. The turret lathe, its tools, accessories and methods of performing its functions. Chapters on special work, grinding, tool holders, speeds, feeds, modern tool steels, etc. Second edition $3.50 Turning and Boring Tapers. By Fred H. Colvin. There axe two ways to turn tapers: the right way and one other- This treatise has to do with the right way; it tells you how to start the work properly, how to set the lathe, what tools to use and how to use them, and forty and one other little things that you should know. Fourthedition 25 cents LIQUID AIR Liquid Air and tlie Liquefaction of Gases. By T. O'Conob Sloans. This book gives the history of the theory, discovery and manufacture of Liquid Air, and contains an illustrated description of all the experiments that have excited the wonder of audiences all .over, the country. It shows how liQuld air, like water, is carried hundreds of miles and is handled in open buckets. It tells what may be expected from it in the near future. A book that renders simple one of the most perplexing chemical problems of the century. Startling developments illustrated by actual experiments. It is not only a work of scientific interest and authority, but is intended for the general reader, being written in a popular style— easily understood by every one. Second edition. 365 Price $2.00 LOCOMOTIVE ENGINEERING Air-Brake Catechism. By Robert H. Blackall. This book is a standard text-book. It covers the Westinghouse Air-Brake Equipment, including the No. 5 and the No. 6 E.-T. Locomotive Brake Equipment: the K (Quick Ser- vice) Triple Valve for Freight Service; and the Cross-Compound Pump. The operation of all parts of the apparatus is explained in detail, and a practical way of finding their peou- liarfties and defects, with a proper remedy, is given. It contains 2,000 questions with their answers, which will enable any railroad man to pass any examination on the subject of Air Brakes. Endorsed and used by air-brake instructors and examiners on nearly every railroad in the United States. Twenty-sixth edition. 411 pages, fully illustrated with colored plat^ and diagrams. Price $2.00 American Compound Locomotives. By Fred H. Colvin. The only book on compounds for the engineman or shopman that shows in a plain, prac- tical way the various features of compound locomotives in use. Shows how they are made, 'vhat to do when they break down or balk. Contains sections as follows: A Bit of History. Theory of Compounding Steam Cylinders. Baldwin Two-Cylinder Compound. Pittsburg Two-Cylinder Compound. Rhose Island Compound. Richmond Compound. Rogers Com- pound. Schenectady Two-Cylinder Compound. Vauclain Compound. Tandem Compounds. Baldwin Tandem. The Colvin-Wightman Tandem. Schenectady Tandem. , Balanced Locomotives. Baldwin Balanced Compound. Plans for Balancing. Locating Blows. Breakdowns, Reducing Valves. Drifting. Valve Motion. Disconnecting. Power of Com- • pound Locomotives. Practical Notes. Fully illustrated and containing ten special "Duotone" inserts, ou heavy Plate Paper, show- ily different types of Compounds. 142 pages. Price. $1.00 22 THE NORMAN W. HENLEY PUBLISHING CO. Application of Higlily Superheated Steam to Locomotives. By Robert Gabbe. A practical book which cannot be recommended too highly to those motiye;-power men who are anxious to maintain the highest efficiency in their locomotives. Contains special chap- ters on Generation of Highly Superheated Steam; Superheated Steam and the Two-Cylinder Simple Engine; Compounding and Superheating; Designs of Locomotive Superheaters; Constructive Details of Locomotives Using Highly Superheated. Steam. . Experimental and Working Results. Illustrated with folding plates and tables. Cloth. I'nce .... tfi.in Combustion of Coal and the Prevention of Smoke. By "Wm. M. Barb. This book has been prepared with special reference to the generation of heat by the com- bustion of the common fuels found in the United States and deals particularly with the conditions necessary to the economic and smokeless combustion of bituminous coal m btar tionary and Locomotive Steam Boilers. . ■ n>t t t Presentation of this important subject is systematic and progressive. The arrangement ot the book is in a series of practical questions to which are appended accurate answers, which describe in language free from technicalities the several processes involved in the furnace combustion of American fuels; it clearly states the essential requisites for perfect combus- tion, and points out the best methods of furnace construction for obtaining the greatest quantity of heat from any given quality of coal. Nearly 350 pages, fully lUustoated. Price $1.00 Diary of a Round-House Foreman. By T. S. Reillt. This is the greatest book of railroad experiences ever published. Containing a fund of in- formation and suggestions along the line of handling men, organizing, etc., that one cannot afford to miss. 176 pages. Price . • $1.00 Link Motions, Valves and Valve Setting. By Fbed^H. Colvin, Associate Editor of "American Machinist." A handy book for the engineer or machinist that clears up the mysteries of valve setting. Shows the different valve gears in use, how they work, and why. Piston and slide valves of different types are illustrated and explained. A book that every railroad man in the motive-power department ought to have. Contains chapters on Locomotive Link Motion, Valve Movements, Setting Slide Valves, Analysis by Diagrams, Modem Practice, Slip of Block, Slice Valves, Piston Valves, Setting Piston Valves, Joy-Allen Valve Gear, Walschaert Valve Gear, Gooch Valve Gear, Alfree-Hubbell Valve QBar, etc., etc. Fully illustrated. Price 50 cents Locomotive Boiler Construction. By Fbank A. 'Kleinhans. The construction of boilers in general is treated and, following this, the locomotive boiler is taken up in the order in which its various parts go through the shop. Shows all types of boilers used; gives details of construction; practical facts, such as life of riveting, punches and dies; work done per day, allowance for bending and flanging sheets and other data. Including the recent Locomotive Boiler Inspection Laws and Examination Questions with their answers for Government Inspectors. Contains chapters on Laying-Out Work; Flang- ing and Forging; Punching: Shearing; Plate Planing; General Tables; Finishing Parts; Bending; Machinery Parts; Riveting; Boiler Details; Smoke-Box Details; Assembling and Calking; Boiler-Shop Machinery, etc., etc. There isn't a man who has anything to do with boiler work, either new or repair work, who doesn't need this book. The manufacturer, superintendent, foreman and boiler worker — all need it. No matter what the type of bioler, you'll find a mint of information that you wouldn't be without. Over 400 pages, five large folding plates. Price . . . $3.00 Locomotive Breakdowns and their Remedies. By Geo. L. Fowleb. Re- vised by Wm. W. Wood, Air-Brake Instructor. Just issued. Revised pocket edition. It is out of the question to try and tell you about every subject that is covered in this pocket edition of Locomotive Breakdowns. Just imagine all the common troubles that an engineer may expect to happen some time, and then add all of the unexpected ones, troubles that could occur, but that you have never thought about, and you will find that they are all treated with the very bes]b methods of repair. Walschaert Locomotive Valve Gear 'Troubles, Electric Headlight Troubles, as well as Questions and Answers on the Air Brake are all included. .312 pages. 8th Revised Edition. Fully illustrated. Price $1.00 Locomotive Catechism. By Robert Gbimshaw. The revised edition of "Locomotive Catechism," by Robert Grimshaw, is a New Book from Cover to Coyer. It contains twice as many pages and double the number of illustrations of previous editions. Includes the greatest amount of practical information ever published on the construction and management of modern locomotives. Specially Prepared Chapters t!n the Walschaert Locomotive Valve Gear, the Air-Brake Equipment and the Electric Headlight are given. CATALOGUE OF GOOD, PRACTICAL BOOKS 23 JLmSn^ nt „!l™„fr™ *? "^^^ Engineer and Fireman, and to all who are going in for m,tS nS« „«l,„,lPh?, t?,'°°- IP-P'"'" language, with full, complete answers, not Snly all the ?xnpr PnrpH w™,lH^Jwif'""^°'"^ engmeer are given, but those which the young and less EncvclonpHirrrf tlf» T ^^ ™*f'^''.. »nd which old hands ask as "stickers." ft is a veritable fhnrnn^Rl L L 5!t^°°??'°I''^^' " ^"^"^l? ^'5? f''™ mathematics, easily understood and MSnafpR^AW nK,i.„^t- Contains over 4,000 Examination Questions with their Answers. 825 pages, 437 illustrations, and 3 folding plates. 28th Bevjsed Edition. Price fa.gO Practical Instructor and Reference Book for Locomotive Firemen and Engineers. By Chas. F. Lockhakt. hnwThinff .^!'!ii'°°'' Tt?^ .Locomotive. It appeals to every railroad man, as it tells him ^?„T*^^i?ii; ^- ^°''^.^']^ *■"> "SW ™y t° do them. Written by a man who has had years of S,vfi ?„ ♦t^'^l u '^ lopomotive shops and on the road firing and running. The information given in this book cannot be found in any other similar treatise. Eight hundred and fifty-one questions with their answers, are mcluded, which will prove specially|helpful to those preparing for examination Practical information on: The Construction and Operation of Locomotives, Breakdowns and their Remedies, An- Brakes and Valve Gears. Rules and Signals are handled in a thorough manner. As a book of reference it cannot be excelled. The book is divided mto SIX parts, as follows: 1. The Fireman's Duties. 2. General Description of the Locomotive. 3. Breakdowns and their Remedies. 4. Air Brakes. S. Extracts from Standard Rules, e. Questions for Exammation. The 851 questions have been carefully selected and arranged. Ihese cover the examinations required by the different railroads. 368 pages, 88 illustrations. "■"=* $1.50 PreTention of Railroad Accidents, or Safety In Railroading. By George Bbadshaw. This book is a heart-to-heart talk with Railroad Employees, dealing with facts, not theories, and showing the men in the ranks, from every-day experience, how accidents occur and how they may be avoided. The book is illustrated with seventy original photographs and drawings showing the safe and unsafe methods of work. No visionary schemes, no ideal pictures. Just Plain Facts and Practical Suggestions are given. Every railroad employee who reads the book is a better and safer man to have in railroad service. It gives just the information which will be the means of preventing many injuries and deaths. AU railroad employees should procure a copy, read it, and do their part in preventing accidents. 169 pages. Pocket size Fully illustrated. Price gQ (>eQ4;c Train Rule Examinations Made Easy. By G. E. Collinqwood. This is the only practical work on train rules in print. Every detkil is covered, and puzzling points are explained in simple, comprehensive language, making it a practical treatise for the Train Dispatcher ,_ Engineman, Trainman, and all others who have to do with the movements of trains. Contains complete and rehable information of the Standard Code of Train Rules for single track. Shows Signals in Colors, as used on the different roads. Explains fully the practical application of train orders, giving a clear and definite understanding of all orders which may be used. The meaning and necessity for certain rules are explained in such a manner that the student may know beyond a doubt the rights conferred under any orders he may receive or the action required by certain rules. As nearly all roads require trainmen to pass regular examinations, a complete set of examination questions, with their answers, are included. These will enable the student to pass the reqmred examinations with credit to himself and the road for which he works. 2nd Edition, Revised. 256 pages, fully illustrated, with Train Signals in Colors. Price $1.3S Tbe Walschaert and Other Modern Radial Talre Gears for Locomotives. By Wm. W. Wood. If you would thoroughly understand the Walschaert Valve Gear you should possess a copy of this book, as the author takes the plainest form of a steam engine — a stationary engine in the rough, that will only turn its crank in one direction — and from it builds up, with the read- er's help, a modern locomotive equipped with the Walschaert Valve Gear, complete. The points discussed are clearly illustrated: Two large folding plates that show the positions of the valves of both inside or outside admission type, as well as the hnks and other parts of the gear when the crank is at nine different points in its revolution, are especially valuable in mak- mg the movement clear. These employ sliding cardboard models which are contained in a pocket in the cover. The book is divided into five general divisions, as follows: 1. Analysis of the gear. 2. De- signing and erecting the gear. 3. Advantages of the gear. 4. Questions and answers relating to the Walschaert Valve Gear. 5. Setting valves with the Walschaert Valve Gear; the three primary types of locomotive valve motion; modern radial valve gears other than the Wal- schaert; the Hobart All-free Valve and Valve Gear, with questions and answers on breakdowns; the Baker-Pilliod Valve Gear; the Improved Baker-Pilliod Valve Gear, with questions and answers on breakdowns. The questions with full answers given will be especially valuable to firemen and engineers in preparing for an examination for promotion, 245 pages. 3rd Revised Edition. Price $1,S0 24 THE- NORMAN W. HENLEY PUBLISHING CO. Westinghouse E-T Air-Brake Instruction Pocket Book. By Wm. W. Wood, iUr-Brake Instructor. Here is a book for the railroad man, and the man who aims to be one. It is wiUiout doabt the only complete work published on the Westinghouse E-T Locomotive Brake Equipment. Written by an Air-Brake Instructor who knows just what is needed. It covers the subject thoroughly. Everything about the New Westinghouse . Engine and Tender Brake Equip- ment, including the standard No. 6 and the Perfected No. 6 style of brake, is treated in detail. Written in plam English and profusely illustrated with Colored Plates, which enable one to trace the flow of pressures throughout the entire equipment. The best book ever published on the Air Brake. Equally good for the beginner and the advanced engineer. Will pass any one through any examination. It informs and enlightens you on every point. Indispensable to every engineman and trainman. ,_„ . ^ n ■ viit-oTi Contains examination questions and answers on the E-T equipment. Oovenng what tne Jl-1 Brake is. How it should be operated. What to do when defective. Not a question can be asked of the engineman up for promotion, on either the No. 6 or the No. 6 E-T equipment, that is not askedand answered in the book. If you want to thoroughly understand the E-T equipment get a copy of this book. It covers every detail. Makes Air-Brake troubles and examinations easy. Price $1.50 MACHINE-SHOP PRACTICE American Tool Making and Interchangeable Manufacturing. By J. V. WOODWORTH. A "shoppy" book, contaiaing no theorizing, no problematical or experimental devices. There are no badly proportioned and impossible diagrams, no catalogue cuts, -but a valuable collec- tion of drawings and descriptions of devices, the rich fruits of the author's own experience. In its 500-odd pages the one subject only, Tool Making, and whatever relates thereto, is dealt with. The work stands without a rival. It is a complete, practical treatise, on the art pi American Tool Making and system of interchangeable manufacturing as carried on to-day in the United States. In it are described and illustrated all of the different types and classes of small tools, fixtures, devices, and special appliances which are in general use in all machine- manufacturing and metal-working establishments where economy, oanacity, and interchange- ability in the production of machined metal parts are imperative. Tne science of jig making is exhaustively discussed, and particular attention is paid to drill jigs, boring, profiling and milling fixtures and other devices in which the parts to be machined are located and fastened within the contrivances. All of the tools, fixtures, and devices illustrated and described have been or are used for the actual production of work, such as parts of drill presses, lathes, patented machinery, typewriters, electrical apparatus, mechanical appliances, "brass goods, composition parts, mould products, sheet-metal articles, drop-forgings, jewelry, watches, medals, coins, etc. 531 pages. Price $4.00 HENLEY'S ENCYCLOPEDIA OF PR ACTICAL ENGINEERING AND ALLIED TRADES. Edited by Joseph G. Horner, A.M.I., M.E. This set of five volumes contains about 2,500 pages with thousands of illustrations, including diagrammatic and sectional drawings with full explanatory details. This work covers the entirfe practice of Civil and Mechanical Engineering. The best known experts in all branches of engineering have contributed to these volumes. The Cyclopedia is admirably well adapted to the needs of the beginner and the self-taught practical man, as well as the mechanical engineer, designer, draftsman, shop superintendent, foreman, and machinist. The work will be found a means of advancement to any progressive man. _ li is encyclopedic m scope, thor- ough and practical in its treatment on technical subjects, simple ana clear in its descriptive matter, and without unnecessary technicalities or formulse. The articles are as brief as may be and yet give a reasonably clear and exj)licit statement of the subject, and are written by ■ men who have had ample practical experience in the matters of which they write. It tells you all you want to know about engineering and tells it so simply, so clearly, so concisely, that one cannot help but understand. As a work of reference it is without a peer. Complete set of five volumes, price $35.00 Tlie Modern Macliinist. By John T. Usher. This is a book, showing by plain description and by profuse engravings made expressly for the work, all that is best, most advanced, and of the highest efficiency in modern machine- shop practice, tools and implements, showing the way by which and through which, as Mr. Maxim says, "American machinists have become and are the finest mechanics in the world." Indicating as it does, in every line,_ the familiarity of the author with every detail of daily experience in the shop, it cannot fail to be of service to any man practically connected with the shaping or finishing of metals. There is nothing experimental or visionary about the book, all devices being in actual use and giving good results. It might be called a compendium of shop methods, showing a variety of special tools and appliances which will give new ideas to many mechanics, from the superintendent down to the man at the bench. It will be found a valuable addition to any machinist's librarj;, and should be consulted whenever a new or difficult job is to be done, whether it is boring, milling, turning, or planing, as they are all treated in a practical manner. Fifth edition. 320 pages. 2S0 illustrations. Price $!3«50 CATALOGUE OF GOOD, PRACTICAL BOOKS 25 THE WHOLE FIELD, OF MECHANICAL MOVEMENTS COVERED BY MB. HISCOX'S TWO BOOKS ZL^^t^''jT,^J'°°''^ '"' '^'"■f'^ D Hiscox that will keep you from ■■inventing" things that have mZ «^^Jl k™ ""'^.^Wss* wags of doing things that you have not thought of before. Many a h^^/I^hi^^S^ T",'^, pondenng_ over some mechanical problem, only to learn, after he I^^JhlZt %^ ™J ""^ "'^ ^""^ """" '""' ''^™ t^eomplislied and put in practice by others m-e Wmfl W%nrf n^T" ^ff"' '? fn effort to accomplish what luis already been accomplished andi^^lT^m?^ ^°^^- ^''^ "■]'?'" ^"^ "^ mechanics, every known mechanical movement, S <,T;w™Si rTi'*""''%","-,T'^"^,\^ (*eseiwo books. If the thing you want has been invented, to »W ™,? !l ? ^^ *' '"i'" ' '"f"'- »"»«««<*. "'en you^ll find in them the nearest thing, wiU^JZ, nf:,.f"'^ "">!'™e'"' or devices thai will apply in your case, perhaps; or which v^Jlnfh^T,?J? '''T Jf'""* '" ""'■*■ ■^?}'J"''' <"• ^^' "■'' ^""''^ ""»'• py^blished iiof mare real vaxue to the Inventor, Draftsman, or prachcal Mechanic than the two volumes described below. Mecbanical Movements, Powers, and Devices. By Gaednee D. Hiscox. This is a collection of ,1,890 engravings of different mechanical motions and appliances, ao- compamed by appropriate text, making it a book of great value to the inventor, the drafts- man, and to all readers with mechanical tastes. The book is divided into eighteen sections or chaptera, m which the subject-matter is classified under the following heads: Mechanical Powers; Transmission of Power; Measurement of Power; Steam Power; Air Power Appli- ances; Eleotrio Power and Construction; Navigation and Roads; Gearing; Motion and Devices; Controlling Motion; Horological; Mining; Mill and Factory Appliances; Con- struction and Devices; Drafting Devices; Miscellaneous Devices, etc. 15th Edition. 400. octavo pages. Price 'fit 11(1 Mechanical Appliances, Mechanical Movements and Novelties of Construc- tion. By Gakdner D. Hiscox. This is a supplementary volume to the one upon mechanical movements. Unlike the first volume, which is more elementary in character, this volume contains illustrations and de- scriptions of many combinations of motions and of mechanical devices and appliances found in different lines of machinery, each device being shown by a line drawing with a description showing ite working parts and the method of operation. From the multitude of devices de- scribed and illustrated might be mentioned, in passing, such items as conveyors and elevators. Pony brakes, thermometera, various types of boilers, solar engines, oil-fuel burners, condensers, evaporators, Corliss and other valve gears, governors, gas engines, water motors of various descriptions, air ships, motors and dynamos, automobile and motor bicycles, railway lock signals, car couplers, Imk and gear motions, ball bearings, breech-block mechanism for heavy guns, and a large accumulation of others of equal importance. One thousand specially made engravings. 396 octavo pages. Fourth edition. Price •■^.00 Machine-Shop Tools and Shop Practice. By W. H. Vandebvoobt. A work of 555 pages and 673 illustrations, describing in every detail the construction, opera^ tion and manipulation of both hand and machine tools. Includes chapters on filing, fit- ting and scraping surfaces; on drills, reamers, taps and dies; the lathe and its tools: planers, shapers, and their tools; milling machines and cutters; gear cutters and gear cutting; drill- ing machines and drill work; grinding machines and their work; hardening and tempering; gearing, belting and transmission machinery; useful data and tables. Sixth edition. Price $3.09 Machine-Shop Arithmetic. By Colvin-Chenbt. This is an arithmetic of the things .you have to do with daily. It tells you plainly about; how to find areas in figures; how to find surface or volume of balls or spheres; handy ways for calculating; about compound gearing; cutting screw threads on any lathe; drilling for taps; speeds of drills; taps, emery wheels, grindstones, milling cutters, etc.; all about the Metric system with conversion tables; properties of metals: strength of bolts and nuts; decimal equivalent of an inch. All sorts of machine-shop figuring and 1,001 other things, any one of which ought to be worth more than the price of this book to you, as it saves you the trouble of bothering the boss. 6th Edition. 131 pages. Price 50 Cents Modern Machine-Shop Construction, Equipment and Management. By OscAE E. Pebeigo. The only work published that describes the Modern Shop or Manufacturing Plant from the time the grass is growing on the site intended for it until the finished product is shipped. Just the book needed by those contemplating the erection of modern shop buildings, the rebuilding and reorganization of old ones, or the introduction of Modern Shop Methods, time and cost systems. It is a book written and illustrated by a practical shop man for practical shop men who are too busy to read theories and want facts. It is the most complete all-round book of its kind ever published. Second Edition, Revised. 384 large quarto pages. 219 original and specially made illustrations. 2nd Revised and Enlarged Edition. Price $5.00 26 THE NORMAN W. HENLEY PUBLISHING CO. Modern Milling Machines: Tlieir Design,. Construction, and Operation. By Joseph G. Horner. This book describes and illuatratea the Milling Machine and its work in such a plain, clear and forceful manner, and illustrates the subject so clearly and completely, that the up-to- date machinist; student or mechanical engineer cannot afford to do without the valuable information which it contains. It describes not only the early machines of this class, but notes their gradual development into the splendid machines of the present day, giving the design and construction of the various types, forms, and special features produced by prominent manufacturers, American and foreign. 304 pages, 300 illustrations. Cloth. Price. . . $4,00 *• Shop Einlcs." By Robert Grimshaw. A book of 400 pages and 222 illustrations, being entirely different from any other book on machine-shop practice. Departing from conventional style, the author _ avoids universal or common shop usage and limits his work to showing special ways of doing things better, more cheaply and more rapidly than usual. As a result the advanced methods of represen- tative establishments of the world are placed at the disposal of the reader. This book shows the proprietor where large savings are possible, and how products may be improved. To the employee it holds out suggestions that, properly applied, will hasten his advancement. No shop can afford to be without it. It bristles with valuable wrinkles and helpful sugges- tions. It will benefit all, from apprentice to proprietor. Every machinist, at any age, should study its pages. Fifth edition. Price $Z.50 Tiireads and Thread Cutting. By Colvin and Stabel. This clears up many of the mysteries of thread-cutting, such as double and triple threads, internal threads, catching threads, use of hobs, etc. Contains a lot of useful hints and several tables. Third edition. Price 25 CentS MANUAL TRAINING Economics of Manual Training. By Louis Rouillion. The only book nublished that gives just the information needed by all interested in Manual Training, regarding Buildings, Equipment, and Supplies. Shows exactly what is needed for all grades of the work from the Kindergarten to the High and Normal School. Gives itemized lists of everything used in Manual Training Work and tells just what it ought to cost. Also shows where to buy supplies, etc. Contains 174 pages, and is fully illustrated. Second edition. Price $1.50 MARINE ENGINEERING The Naval Architect's and Shipbuilder's Pocket Book of Formulae, Rules, and Tables and Marine Engineer's and Surveyor's Handy Book of Reference. By Clement Mackrow and Llotd Woollaed. The eleventh Revised and Enlarged Edition of this most comprehensive work has just been issued. _ It is absolutely indispensable to all engaged in the Shipbuilding Industry, as it con- denses into a compact form all data and formulse that are ordinarily required. The book is completely up to date, including among other subjects a section on Aeronautics. 750 pages, limp leather binding. Price $5.00 net Marine Engines and Boilers: Their Design and Construction. By Dr. G Bauer, Leslie S. Robertson and S. Bryan Donkin. In the words of Dr. Bauer, the present work owes its origin to an oft felt want of a condensed treatise embodying the theoretical and practical rules used in designing marine engines and boHers. The need of such a work has been felt by most engineers engaged in the construction and working of marine engines, not only by the younger men, but also by those of greater ex- perience. The fact that the original German work was written by the chief engineer of the famous Vulcan Works, Stettin, is in itself a guarantee that this book is in all respects thor- oughly up-to-date, and that it embodies all the information which is necessary for the design and construction of the highest types of marine engines and boilers. It may be said that the motive power which Dr. Bauer has placed in the fast German liners that have been turned out of late years from the Stettin Works represent the very best practice in marine engineering of the present day. The work is clearly written, thoroughly systematic, theoretically sound; while the character of the plans, drawings, tables, and statistics is without reproach. The illustrations are careful reproductions from actual working drawings, with some well-executed photographic views of completed engines and boilers. 744 pages, 550 illustrations and num- erous tables. Cloth. Price $9 00 net ^CATALOGUE OF GOOD, PRACTICAL BOOKS 27 MINING Ore Deposits, with a Chapter on Hints to Prospectors. By J. P. Johnson. This book gives a condensed account of the ore deposits at present known in South Africa. It IS also intended as a guide to the prospector. Only an elementary knowledge of geology and some mining experience are necessary in order to understand this work. With these qualifications, it will materially assist one in his search tor metalliferous mineral occurrences and, so far as simple ores are concerned, should enable one to form some idea of the possi- bilities of any he may find. Illustrated. Cloth. Price $3„00 Practical Coal Mining. By T. H. Cockin. An important work, containing 428 pages and 213 illustrations, complete with practical details, which will intuitively impart to the reader not only a general knowledge of the principles of coal mining, but also considerable insight into allied subjects. The treatise is positively ui)-to-date in every instance, and should be in the hands of every colliery engineer, geologist, mine operator, superintendent, foreman, and all others who are interested in or connected with the industry. 3d Edition. Cloth. Price $3.50 Physics and Chemistry of Mining. By T. H. Btkom. A practical work for the use of all preparing for examinations in mining or qualifying for colliery managers' certificates. The aim of the author in this excellent book is to place clearly before the reader useful and authoritative data which will render him valuable assistance in bis studies. The only work of its kind published. The information incorporated in it will prove of the greatest practical utility to students, mining engineers, colliery managers, and all others who are specially interested in the present-day treatment of mining problems. 160 pages, illustrated. Price $!3.00 PATTERN MAKING Peactical Pattern Making. By F. W. Babbows. This book, now in its second edition, is a comprehensive and entirely practical treatise on the subject of pattern making, illustrating pattern work in both wood and_ metal, and with definite instructions on the use of plaster of paris in the trade. It gives specific and detailed descrip- tions of the materials used by pattern makers, and describes the tools, both those for the bench and the more interesting machine tools, having complete chapters on the Lathe, the Circular Saw, and the Band Saw. It gives many examples of pattern work, each one fully illustrated and explained with much detail. These examples, in their great variety, offer much that will be found of interest to all paljtern makers, and especially to the younger ones, who are seeking information on the more advanced branches of their trade. In this second edition of the work will be found much that is new, even to those who have long practised this exacting trade. In the description of patterns as adapted to the Moulding Machine many difficulties which have long prevented the rapid and economical productwn of castings are overcome; and this great, new branch of the trade is given much space. Strip- ping plate and stool plate work and the less expensive vibrator, or rapping plate work, are all explained in detail. .^^ i ^ ^ * i. Plain, every-day rules for lessening the cost of patterns, with a complete system of cost keeping, a detailed method of marking, applicable to all branches of the trade, with com- plete information showing what the pattern is, its specific title, its cost, date of production, material of which it is made, the number of pieces and core-boxes, and its location in the pattern safe, all condensed into a most complete card record, with cross index. The book closes with an original and practical methodfor the inventory and valuatim of patterns. Containing neariy 360 pages and 170 illustrations. Price $^.UV PERFUMERY Perfumes and Cosmetics: Their Preparation and Manufacture. By G. W. AsKiNSON, Perfumer. A comprehensive treatise, in which there has been nothing omitted that could be of value tn the perfumer or manufacturer of toilet preparations. Complete directions for making handkerchief perfumes, smelling-salts, sachets, fumigating pastilles; preparations for the ?,rp of the skin, the mouth, the hair, cosmetics, hair dyes and other toilet articles are given, SlLo a detailed description of aromatic substances; their nature, tests of purity, and whole- =nme manufacture, including a chapter on synthetic products, with formulas for their use. A hook of general as well as professional interest, meeting the wants not only of the drug- Sot and perfume manufacturer, but also of the general pubhc. Among the contents are: 1 The IKstory of Perfumery. 2. About Aromatic Substances m General. 3. Odors from ths Vegetable Kingdom. 4. The Aromatic Vegetable Substances Employed in Perfumery. ^ The J4.nimal Substances Used in Perfumery. 6. The Chemical Products Used in Perfumepf. ?' The Extraction of Odors. 8. The Special Characteristics of Aromatic bubstances. 9. The Adulteration of Essential Oils and Their Recognition. 10. Synthetic Products. 11. Table nf Physical Properties of Aromatic Chemicals. 12. The Essences or Extracts Employed j2 Perfumery. 13. Directions for Making the Most Important Essences and Extracts. 28 THE NORMAN W. HENLEY PUBLISHING CO. 14. The Division of Perfumery. 15. The Manufacture of Handkerchief Perfumes. 16. For- mulas for Handkerchief Perfumes. 17. Ammoniacal and Acid Perfumes. 18. Dry Per- fumes. 19. Formulas for Dry Perfumes. 20. The Perfumes Used for Fumigation. 21. An- tiseptic and Therapeutic Value of Perfumes. 22. Classification of Odors. 23. Some Special Perfumery Products. 24. Hygiene and Cosmetic Perfumery. 25. Preparations for the Care of the Skin. 26. Manufacture of Casein. 27. Formulas for Emulsions. 28. Formulas for Cream. 29. Formulas for Meals, Pastes and Vegetable Milk. 30. Preparations Used for the Hair. 31. Formulas for Hair Tonics and Restorers. 32. Pomades and Hair Oils. 33. Formulas for the Manufacture of Pomades and Hair Oils. 34. Hair Dyes and Depila- tories. 35. Wax Pomades, Bandolines and Brilliantines. 36. Skin Cosmetics and Face Lotions. 37. Preparations for the Nails. 38. Water Softeners and Bath Salts. 39. Preparations for the Care of the Mouth. 40. The Colors Used in Perfumery. 41. The Uten- sils tlsed in the Toilet. Fourth edition, much enlarged and brought up to date. Nearly 400 pages, illustrated. Price - . . $5.00 WHAT IS. SAID OF THIS BOOK: "The most satisfactory work on the subject of Perfumery that we have ever seen." "We feel safe in saying that here is a book on Perfumery that will not disappoint you, for it has practical and excellent formulte that are within your ability to prepare readily." "We recommend the volume as worthy of confidence, and say that no purchaser will be dis- appointed in securing from its pages good value for its cost, and a large dividend on the same, even if he should use but one per cent, of its working formulse. There is money in it for every user of its information." — Pharmaceutical Record. PLLMBEVG Mechanical Drawing for Plumbers. By R. M. Starbtjck. A concise, comprehensive and practical treatise on the subject of mechanical drawing in its various modem applications to the work of all who are in any way connected with the plumb- ing trade. Nothing will so help the plumber in estimating and in explaining work to cus- tomers and workmen as a knowledge of drawing, and to the workman it is of inestimable value if he is to rise above his position to positions of greater resi>onsibility. Among the chapters contained are: 1. Value to plumber of knowledge of drawing; tools required and their use; common views needed in mechanical drawing. 2. Perspective versus mechanical drawing in showing plumbing construction. 3. Correct and incorrect methods in plumbing drawing: plan and elevation explained. 4. Floor and cellar plans and elevation; scale drawings; use of triangles. 5. Use of triangles: drawing of fittings, traps, etc. 6. Drawing plumbing elevations and fittings. 7. Instructions in drawing plumbing elevations. 8. The drawing of plumbing fixtures; scale drawings. 9. Drawings of fixtures and fittings. 10. Ink- ing of drawmgs. 11. Shading of drawings. 12. Shading of drawings. 13. Sectional drawings; drawing of threads. 14. Plumbing elevations from architect's plan. 15. Elevations of sepa- rate parts of the plumbing system. 16. Elevations from the architect's plans. 17. Drawings of detail plumbing connections. 18. Architect's plans and plumbing elevations of residence. 19. Plumbing elevations of residence {continued) ; plumbing plans for cottage. 20. Plumbing elevations; roof connections. 21. Plans and plumbing elevations for six-flat building. 22. Drawing of various parts of the plumbing system; use of scales. 23. Use of architect's scales. 24. Special features in the illustrations of country plumbing. 25. Drawing of wrought-iron piping, valves, radiators, coils, etc. 26. Drawing of piping to illustrate heating systems. 150 illustrations. Price $1.50 Modern Plumbing Illustrated. By R. M. Stabbitck. This book represents the highest standard of plumbing work. It has been adopted and used as a reference book by the United States Government in its sanitary work in Cuba, Porto Hico and the Philippines, and by the principal Boards of Health of the United States and Canada. It gives connections, sizes ajid working data for all fixtures and groups of, fixtures. It is help- ful to the master plumber in demonstrating to his customers and in figuring work. It gives the mechanic and student quick and easy access to the best modern plumbing practice. Sug- gestions for estimating plumbing construction are contained in its pages. 'This book repre- sents, in a word, the latest and best up-to-date practice and should be in the hands of every architect, sanitary engineer and plumber who wishes to keep himself up to the minute on this important feature of construction. Coptains following chapters, each illustrated with a full-page plate: Kitchen sink, laundry tubs, vegetable wash sink; lavatories, pantry sinks, contents of marble slabs; bath tub, foot and sitz bath, shower bath; water closets, venting of water closets; low-down water closets, water closets operated by flush valves, water closet range; slop sink, urinals, the bidet; hotel and restaurant sink, grease trap; refrigerators, safe wastes, laundry waste, lines of refrigerators, bar smks, soda fountain sinks; horse stall, frost-proof water closets: connections for S traps, venting; connections for drum traps; Boil-pipe connections; supporting of soil pipe; main trap and fresh-air inlet; floor drains and cellar drams, subsoil drainage; water closets and floor connections; local venting; connections for bath rooms; connections for bath rooms, cond'mied,- examples of poor practice- roughing work ready for test; testing of plumbing systems ; method of continuous venting; continuous venting tor two-floor work; continuous venting for two lines of fixtures on three or more floors; continuous venting of water closets; plumbing for cottage house; construction for cellar piping; plumbing for residence, use of special fittings; plumbing for two-flat house; plumbing for apartment building, plumbing for double apartment building; plumbing for office building; plumbing for public toilet rooms; plumbing for public toilet rooms, con- iiTOed; plumbing for bath establishment; plumbing for engine house, factory plumbing; automatic ttushine for schools, factories, etc.; use of flushing valves; urinals for public toilet rooms; the Durham system, the destruction of nines bv electrolysis; construction of work CATALOGUE OP GOOD, PRACTICAL BOOKS 2^ without use of lead; automatic sewage lift; automatic sump tanic; country ' plumbing; construction of cesspools; septic tank and automatic sewage siphon; water supply for LJi^r^ houae; thawing of water mains and service by electricity; double boilers; hot „,.■„ .^"PP"', o' .lar«e buildings; automatic control of hot-water tank; suggestions for estimating plumbing construction. 407 octavo pages, fully illustrated by S7 full-page engravings. Third, revised and enlarged edition, just issued. Price $4.00 Standard Practical Plumbing. By R. M. Starbuck. A complete practical treatise of 450 pages, covering the subject of Moderr. Plumbing in ali its branches, a large amount of space being devoted to a very complete and practical treatmcr* of the subject of Hot Water Supply and Circulation and Range Boiler Work. Its thirty ehapteTE include about every phase of the subject one can think of, making it an indispensable work to tne master plumber, the journeyman plumber, and the apprentice plumber, contaiaicg libap- ters on: the plumbers tools; wiping solder; composition and use; joint wiping; lead work; traps; siphonage of traps; venting; continuous venting; house sewer and sewer connections; house dram; soil piping, roughing; main trap and fresh air inlet; floor, yard, cellar drains, rain leaders, etc.; faxture wastes; water closets; ventilation; improved plumbing connections: residence plumbing; plumbing for hotels, schools, factories, stables, etc.; modern country plumbing; nitration of sewage and water supply; hot and cold supply; range boilers; circula- tion; circulatong pipes; range boiler problems; hot water for large buildings; water lift and Its use; multiple connections for hot water boilers! heating of radiation by supply system; Uieory for the plumber; drawing for the plumber. Fully illustrated by 347 engravings. *^"'* $3.00 RECIPE BOOK Henley's Twentieth Century Bools of Secipes, Formulas and Processes. Edited by Gakdneb D. Hiscox. The most valuable Techno-chemical Formula Book published, including over 10,000 selected scientific, chemical, technological, and practical recipes and processes. This is the most complete Bookr^f Formulas ever published, giving thousands of recipes for the manufacture of valuable articles for everyday use. Hints, Helps, Practical Ideas, and Secret Processes are revealed within its pages. It covers every branch of the useful arts and tells thousands of ways of making money, and is just the book everyone should have at Ua command. Modern in its treatment of every subject that properly falls within its scope, the book may truthfully be said to present the very latest formulas to be found in the arts and industries, and to retain those processes which long experience has proven worthy of a permanent record. To present here even a limited number of the subjects which find a place in this valuable work would be difficult. Suffice to say that in its pages will be found matter of intense interest and immeasurably practical value to the scientific amateur and to him who wishes to obtain a knowledge of the many processes used in the arts, trades and manufacture, a knowledge which will render his pursuits more instructive and remunerative. Serving as a reference book to the small and large manufacturer and supplying intelligent seekers with the information necessary to conduct a process, the work will be found of inestimable worth to the Metallurgist, the Photographer, the Perfumer, the Painter, the Manufacturer of Glues,, PasteSj Cements, and Mucilages, the Compounder of Alloys, the Cook, the Physician, the Druggist, the Electrician, the Brewer, the Engineer, the Foundryman, the Machinist, the Potter, the Tanner, the Confectioner, the Chiropodist, the Manicurist, the Manufacturer of Chemical Novelties and Toilet Preparations, the Dyer, the Electroplater, the Enameler, the Engraver, the Provisioner, the Glass Worker, the Goldbeater, the Watchmaker, the Jeweler, the Hat Maker, the Ink Manufacturer, the Optician, the Farmer, the Dairyman, the Paper Maker, the Wood and Metal Worker, the Chandler and Soap Maker, the Veterinary Surgeon, and the Technologist in general. A mine of information, and up-to-date in every respect. A book which will prove of value to EVERYONE, as it covers every branch of the Useful Arts. Every home needs this book; every office, every factory, every store, every public and private enterprise — ^EVERYWHERE —should have a copy. 800 pages. Price . . . $3.00 WHAT IS SAID OF THIS BOOK: "Your Twentieth Century Book of Recipes, Formulas, and Processes duly_ received. I am glad to have a copy of it, and if I could not replace it, money couldn't buy it. It is the best thing of the sort I ever saw." (Signed) M. E. Trtjx, Sparta, Wis. " There are few persons who would not be able to find in the book some single formula that would repay several times the cost of the book." — Merchants' Record and Show Window. "1 purchased your book, 'Henley's Twentieth Century Book of Recipes, Formulae and Proc- esses,' about a year ago and it is worth its weight in ijold." — Wm. H. Mukrat, Bennington, Vt. "ONE OF THE WORLD'S MOST USEFUL BOOKS" "Some time ago I got one of your 'Twentieth Century Books of Formulas,* and have made my living from it ever since. I am alone since my husband's death with two small children to care for and am trying so hard to support them. I have customers who take from me Toilet Articles I put up, following directions given in the book, and I have found everyone of them to be fine." — Mbs. J. H. McMaken, West Toledo, Ohio. 30 THE NORMAN W. HENLEY PUBLISHING CO- RUBBER Rubber Hand Stamps and the Manipulation of India Eubber. By T. O'CoNOB Sloans. This book gives full details on all points, treating in a concise and simple manner the elements of nearly everything it is necessary to understand for a commencement in any branch of the India Rubber Manufacture. The making of all kinds of Eubber Hand Stamps, Small Articles of India Rubber, U. S. Government Composition, Dating Hand Stamps, the Manipulation of Sheet Rubber, Toy Balloons, India Rubber Solutions, Cements, Blackings, Renovating, Varnish, and Treatment for India Rubber Shoes, etc.; the Hektograph Stamp Inks, and Mis- cellaneous Notes, with a Short Account of the Discovery, Collection and Manufacture of India Rubber, are set forth in a manner designed to be reaifily understood, the e^lanations being plain and simple. Including a chapter on Rubber Tire Making and Vulcanizing; also a chapter on the uses of rubber in Siirgery and Dentistry. 3rd Revised and Enlarged Edition. 175 pages. Illustrated $1.00 SAWS Saw Filing and Management of Saws. By Robert Grimshaw. A practical hand-book on filing, gumming, swaging, hammering, and the brazing of band saws, the speed, work, and power to run circular saws, etc. A handy book for those who have charge of saws, or for those mechanics who do their own filing, as it deals with the proper shape and pitches of saw teeth of all kinds and gives many useful hints and rules for gummmg, setting, and filing, and is a practical aid to those who use saws for any purpose. Complete tables of proper ehape, pitch, and saw teeth as well as sizes and number of teeth of various saws are included. 3rd Edition, Revised and Enlarged. Illustrated. Pric« $1.00 STEAM ENGINEERING American Stationary Engineering. By W. E. Crane. This book begins at the boiler room and takes in the whole power plant. A plain talk on every-day work about engines, boilers, and their accessories. It is not intended to be scien- tific or mathematical. AU formulas are in simple form so that any one understanding plain arithmetic can readily understand any of them. The author has made this the most practical book in print; has given the results of his years of experience, and has included about all that has to do with an engine room or a power plant. You are not left to guess at a single point. You are shown clearly what to expect under the various conditions; how to secure the best results; ways of preventing "shut downs" and repairs; in short, all that goes to make up the requirements of a good engineer, capable of taking charge of a plant. It's plain enough for practical men and yet of value to those high in the profession. A partial list of contents is: The boiler room, cleaning boilers, firing, feeding; pumps, inspec- tion and repair ; chimneys, sizes and cost; piping; mason work; foundations; testing cement; pile driving; engines, slow and high speed; valves; valve setting; Corliss engines, setting yalves, single and double eccentric; air pumps and condensers; different types of conden- sers; water needed; lining up; pounds; pins not square in crosshead or crank; engineers* tools; pistons and piston rings; bearing metal; hardened copper; drip pipes from cylinder jacket; belts, how made, care of; oils; greases; testing luoricants; rules and tables, in- cluding steam tables; areas ojf segments; squares and square roots; cubes and cube root; areas and circumferences of circles. Notes on: Brick work- explosions; pumps; pump valves; heaters, economizers; safety valves; lap, lead, and clearance. Has a complete ex- amination for a license, etc., etc. 3rd Edition. 345 pages, illustrated. Price .... Sj^.OO Engine Runner's Catecliism. By Kobert Grimshaw. A practical treatise for the stationary engineer, telling how to erect, adjust, and run the principal steam engines in use in the United States. Describing the principal features of vari- ous special and well-known makes of engines: Temper Cut-oif , Snipping anci Receiving Founda- tions, Erecting and Starting, Valve Setting, Care and Use, Emergencies, Erecting and_ Ad- justing Special Engines. The (juestions asked throughout the catechism are plain and to the point, and the answers are given in such simple language as to be readily understood by anyone. All the instructions givenare complete and up-to-date; and they are written in a popular style, without any technicalities or mathematical formulse. The work is of a handy size for the pocket, clearly and well printed, nicely bound, and profusely illustrated. To young engineers this- catechism will be of great value, especially to those who may be preparing to go forward to be examined for certificates of competency; and to engineers generally it will be of no-little service, as they will find in this volume more really practical and useful information than is to be found anywhere else within a like compass. 387 pages. 7th Edition. Price $2 00 CATALOGUE OF GOOD, PRACTICAL BOOKS 31 Modern Steam Engineering in Tlieory and Practice. By Gardner D. Hiscox. This is a complete and practical work issued for Stationary Engineers and Firemen, dealing with the care and management of boilers, engines, pumps, superheated steam, refrigerating machinery, dynamos, motors, elevators, air compressors, and all other branches with which the modern engineer must be familiar. Nearly 200 questions with their answers on steam and electrical engineering, likely to be asked by the Examining Board, are included. Among the chapters are: Historical: steam and its properties; appliances for the generation of steam; types of boilers; chimney and its work; heat economy of the feed water; steam pumps and their work; incrustation and its work; steam above atmospheric pressure; flow of steam from nozzles; superheated steam and its work; adiabatic expansion of steam; indi- cator and its work; steam engine proportions; slide valve engines and valve motion; Corliss engine and its valve gear; compound engine and its theory; triple and multiple expansion engine; steam turbine; refrigeration; elevators and their management; cost of power; steam engine troubles; electric power and electric plants. 487 pages, 405 engravings. 3rd Edition. Price $3.00 Steam Engine Catecliism. By Egbert Grimshaw. This unique^ volume of 413 pages is not only a catechism on the question and answer principle but it contains formulas and worked-out answers for ali the Steam problems that appertain to operation and management of the Steam Engine. Illustrations of various valves and valve gear with their principles of operation are given. Thirty-foiu- Tables that are indispensable to every engineer and fireman that wishes to be progressive and is ambitious to become master of his calling are within its pages. It is a most valuable instructor in the service of Steam Engineering. Leading engineers have recommended it as a valuable educator for the begin- ner as well as a reference book for the engineer. It is thoroughly indexed for every detail. Every essential question on the Steam Engine with its answer is contained in this valuable work. 16th Edition. Price $;3«00 Steam Engineer's Aritlimetic. By Colvin-Cheney. A practical pocket-book for the steam en^neer. Shows how to work the problems of the engine room and shows "why." Tells how to figure horsepower of engines and boilers; area of boilers; has tables of areas and circumferences; steam tames; has a dictionary of engineering terms. Piits you on to all of the little kinks in figuring whatever there is to figure around a power plant. Tells you about the heat unit; absolute zero; adiabatic expansion; duty of engines; factor of safety; and a thousand and one other things; and everything is plain and simple— not the hardest way to figure, but the easiest. 2nd Edition. Price . . 50 Cents Engine Tests and Boiler Efficiencies. By J. Buchetti. This work fully describes and illustrates the method of testing the power of steam engines, turbines and explosive motors. The properties of steam and the evaporative power of fuels. Combustion of fuel and chimney draft; with formulas explained or practically computed. 255 pages, 179 illustrations. Price $3.00 Horsepower Chart. Shows the horsepower of any stationary engine without calculation. No matter what the cylinder diameter of stroke, the steam pressure of cut-off, the revolutions, or whether con- densing or non-condensing, it's all there. Easy to use, accurate, and saves time and calcula- tions. Especially useful to engineers and designers. Price 50 CcntS STEAM HEA TING AND VENTILATION Practical Steam, Hot-Water Heating and Ventilation. By A. G. King. This book is the standard and latest work published on the subject and has been prepared for the use of all engaged in the business of steam, hot-water heating, and ventilation. It is an original and exhaustive work. Tells how to get heating contracts, how to install heatingand ventilating apparatus, the best business methods to be used, with Tricks of the Trade for shop use. Rules and data for estimating radiation and cost and such tables and information as make it an indispensable work for everyone interested m steam, hot-water heating, and ventilation. It describes all the principal systems of steam, hot-water, vacuum, vapor, and vacuum-vapor heating, together with th& new accelerated systems of hot-water circulation, including chapters on up-to-date methods of ventilation and the fan or blower system of heat- ing and ventilation. Containing chapters on: I. Introduction. II. Heat. III. Evolution of artificial heating apparatus. IV. Boiler surface and settings. V.^ The chimney flue. VI Pipe and fittings, VII. Valves, various kinds. VIII. Forms of radiating surfaces. IX. 32 THE NORMAN W. HENLEY PUBLISHING CO. Locating of radiating surfaces. X. Estimating radiation. XI. Steam-heating apparatus. XII. Exhaust-steam heating. XIII. Hot-water heating. XIV. Pressure aystems of hot-water work. XV. Hot-water appHances. XVI. Greenhouse heating. XVII. Vacuum vapor and vacuum exhaust heating. XVIII. Miscellaneous heating. XIX. Radiator and pipe connec- tions. XX. Ventilation. XXI. Mechanical ventilation and hot-blast heatmg. XXII. Steam appHances. XXIII. District heating. XXIV. Pipe and boiler covering. XXV. Tem- perature regulation and heat control. XXVI. Business methods. XXVII. Miscellaneous. XXVIII. Rules, tables, and useful information. 367 pages, 300 detailed engravings. 2nd Edition— Revised. Price $3.00 Five Hundred Plain Answers to Direct Questions on Steam, Hot-Water, Vapor and Vacuum Heating Practice. By Alfred G. King. This work, just off the press, is arranged in question and answer form; it is intended as a guide and text-book for the younger, inexperienced fitter and as a reference book for all fitters. This book tells "how" and also tells "why". No work of its kind has ever been published. It answers all the questions regarding each method or system that would be asked by the steam fitter or heating contractor, and may be used as a text or reference book, and for examination questions by Trade Schools or Steam Fitters' Associations. Rules, data, tables and descriptive methods are given, together with much other detailed information of daily practical use to those engaged in or interested in the various methods of heating. Val- uable to those preparing for examinations. Answers every question asked relating to modern Steam, Hot-Water, Vapor and Vacuum Heating. Among the contents are: The Theory and Laws of Heat. Methods of Heating. Chimneys and Flues. Boilers for Heating. Boiler Trimmings and Settings. Radiation. Steam Heating. Boiler, Radiator and Pipe Connec- tions for Steam Heating. Hot Water Heating. The Two-Pipe Gravity System of Hot Water Heating. The Circuit System of Hot Water Heating. The Overhead System of Hot Water Heating. Boiler, Radiator and Pipe Connections for Gravity Systems of Hot Water Heat- ing. Accelerated Hot Water Heating. Expansion Tank Connections. Domestic Hot Water Heating. Valves and Air Valves. Vacuum Vapor and Vacuo-Vapor Heating. Mechanical Systems of Vacuum Heating. Non-Mechanical Vacuum Systems. Vapor Systems. Atmos- pheric and Modulating Systems. Heating Greenhouses. Information, Rules and Tables. 200 pagp^, 127 illustrations. Octavo. Cloth. Price $1.50 STEEL Steel: Its Selection, Annealing, Hardening, and Tempering. By E. R. Markham. This work was formerly known as "The American Steel Worker," but on the publication of the new, revised edition, the publishers deemed it advisable to change its title to a more suitable one. It is the standard work on Hardening, Tempering, and Annealing Steel of all kinds. This book tells how to select, and how to work, temper, harden, and anneal steel for every- thing on earth. It doesn't tell how to temper one class of tools and then leave the treatment of another kind of tool to your imagination and judgment, but it gives careful instructions for every detail of every tool, whether it be a tap, a reamer or just a screw-driver. It tells about the tempering_ of small watch springs, the hardening of cutlery, and the annealing of dies. In fact, there isn't a thing that a steel worker would want to know that isn't included. It is the standard bookon selecting, hardening and tempering all grades of steel. Among the chapter headings might be mentioned the following subjects: Introduction; the work- man; steel; methods of heating; heating tool steel; forging; annealing; hardening baths; baths for hardening; hardening steel; drawing the temper after hardening; examples of hardening; pack hardening; case hardening; spring tempering; making tools of machine steel; special steels; steel for various tools; causes of trouble; high-speed steels, etc. 400 pages. Very fully illustrated. Fourth edition. Price $2,50 Hardening, Tempering, Annealing, and Forging of Steel. By J. V. Wood- worth. A new work treating in a clear, concise manner all modem processes for the heating, anneal- mg, forgmg, welding, hardemng and tempering of steel, making it a book of great practical value to the metal- working mechanic in general, with special directions for the successful hardening and tempering of all steel tools used in the arts, including milling cutters, taps, thread dies, reamers, both solid and shell, hollow mills, punches and dies, and all kinds of sheet- metal working tools, shear blades, saws, fine cutlery, and metal-cutting tools of all descrip- tion, as well as for all implements of steel both large and small. In this work the simplest and most satisfactory hardening and tempering processes are given. The uses to which the leading brands of steel may be adapted are concisely presented, and their treatment for working under different conditions explained, also the special methods for the hardening and tempering of special brands. A chapter devoted to the different processes for case-hardening is also included, and special reference made to the adaptation of machinery steel for tools of various kinds. Fourth edi- tion. 288 pages. 201 illustrations. Price S3 ^0 CATALOGUE OF GOOD, PRACTICAL BOOKS 33 TRACTORS The Modern Gas Tractor. By Victoe W. Pag£, M.E. A complete treatise deaoribing all types and sizes of gasoline, kerosene and oil tractors. Con- siders design and construction exhaustively, gives complete instructions for care, operation and repair, outlines all practical applications on the road and in the field. The best and latest work on farm tractors and tractor power plants. A work needed by farmers, students, blacksmiths, mechanics, salesmen, implement dealers, designers, and engineers. Second edition, revised and enlarged. 504 pages. Nearly 300 illustrations and folding plates. Price $;j,00 TURBINES Marine Steam Turbines. By Dr. G. Batter and 0. Lasche. Assisted by E. LuDwiG and H. Vogel. Translated from the Germanand edited by M. G. S. Swallow. The book is essentially prac tical and discusses turbines in which the full expansion of steam passes through a number of separate turbines arranged for driving two or more shafts, as in the Parsons system, and turbines in which the complete expansion of steam from inlet to exhaust pressure occurs in a turbine on one shaft, as in the case of the Curtis machines. It will enable a designer to carry out all the ordinary calculation necessary for the construction of steam turbines, hence it fills a want which is hardly met by larger and more theoretical works. Numerous tables, curves and diagrams will be found, which explain with remarkable lucidity the reason why txirbine blades are designed as they are, the course which steam takes through turbines of various types, the thermodynamics of steam turbine calculation, the influence of vacuum on steam consumption of steam turbines, etc. In a word, the very information which a de- signer and builder of steam, turbines most requires. Large octavo, 214 pages. Fully illustrated and containing eighteen tables, including an entropy chart. Price, net $3.50 WATCH MAKING Watchmaker's Handbook. By Claudius Sattnibb. No work issued can compare with this book for clearness and completeness. It contains 498 pages and is intended as a workshop companion for those engaged in watch-making and allied mechanical arts. Nearly 250 engravings and fourteen plates are included. This is the standard work on watch-making. Price $3 .00 WELDING AutomobUe Welding with the Oxy- Acetylene Flame. By M. Keith Dunham. Explains in a simple manner apparatus to be used, its care, and how to construct necessary shop equipment. Proceeds then to the actual welding of all automobile parts, m a manner understandable by every one. Gives principles never to be forgotten. Aluminum, cast iron, steel, copper, brass, bronze, and malleable iron are fully treated, as well as a clear explana- tion of the proper manner to burn the carbon out o£ the combustion head. This book is, of utmost value, since the perplexing problems arising when metal is heated to a melting point are fully explained and the proper methods to overcome them shown. 167 pages, fully illus- trated. Price fl.OO Every Practical Man Needs A Magazine Which Will Tell Him How To Make And Do Things Have us enter your subscription to the best mechan- ical magazine on the market. Only one dollar a year for twelve numbers. Subscribe today to Everyday Engineering A MONTHLY magazine devoted to practical mechanics for everyday men. Its aim is to popularize engineering as a, science, teaching the elements of applied mechanics and electricity in a straightforward and understand- able manner. The magazine maintains its own experimental laboratory where the devices described in articles submitted to the Editor are first tried out and tested before they are published. This important innovation places the standard of the published material very high, and it insures accuracy and dependability. The magazine is the only one' in this country that specializes in practical model building. Articles in past issues have given comprehensive designs for many model boats, including submarines and chasers, model steam and gasoline engines, electric motors and generators, etc., etc. This feature is a permanent one in this magazine. Another popular department is that devoted to automobiles and airplanes. Care, maintenance, and operation receive full and authoritative treatment. Every article is written from the practical, everyday-man, standpoint rather than from that of the professional. The magazine entertains while it instructs. It is a journal of practical, de- pendable information given in such a style that it may be readily assimilated and applied by the man with little or no technical training. The aim is to place before the man who leans towa:rd practical mechanics, a series of concise, crisp, readable talks on what is going on and how it is done. These articles are profusely illustrated with clear, snappy photographs, specially posed to illustrate the subject in the magazine's own studio by its own staff of technically-trained illustrators and editors. The subscription price of the magazine is one dollar per year of twelve numbers. Sample copy sent on receipt of ten cents. Enter your subscription to this practical magazine with UB. The Norman W. Henley Publishing Co., 2 West 45th Street, New York