← Henley's Twentieth Century Formulas, Recipes and Processes

Henley’s Book of Recipes (part 11)

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 cement, 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} and it is impossible by this method to secure the thorough stirring and kneading 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 measured 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 bottom discharge, are positive and thorough in their action, and permit the whole operation to be watched and controlled. They should be provided with extensible 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 expensive, and much more rapid in construction 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 making, differing 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.

Tamped Blocks From Semi-wet Mixture.

—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 one-piece type, in which a single block, provided with hollow cores, makes 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 designs 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 horizontally, 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 already stated, concrete made too dry is practically worthless, and an excess 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 {695} hours or longer, has come into considerable 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 cast-stone process consists in pouring liquid concrete mixture into a sand mold made from a pattern in a manner similar to that in which molds for iron castings are produced. 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 necessarily much less rapid than the machine method. It is less extensively used for building blocks than for special ornamental 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, operated by an air compressor, are in use at a few plants, apparently with considerable saving in time and labor and improvements 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 mixture 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 saving of labor, and are essential in factories of considerable size. Blocks will generally 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 favorable 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 seasoning, blocks will be found to shrink at least / 16 inch in length, and if built up in a wall when freshly made, shrinkage cracks in the joints or across the blocks will surely appear.

Efflorescence, or the appearance of a white coating on the surfaces, sometimes takes place when blocks are repeatedly saturated with water and then dried out; blocks laid on the ground are more liable to show this defect. It results from diffusion of soluble sulphates of lime and alkalies to the surface. It tends to disappear 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 entirely one of compression. In compressive 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 concrete, 1 to 4 and 1 to 5, such as is used in making blocks; the following figures show strength of concrete of approximately this richness, also the average of several samples each of well-known building stones, as stated by the authorities 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. Gillmore) 5,831 pounds

Gravel concrete, 1:1.6:2.8, at 1 year (Candlot) 5,500 pounds

Gravel concrete, 1:1.6:3.7, at 1 year (Candlot) 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} 1,530 pounds per square inch, respectively, when 10 weeks old.

Two blocks 6 x 8 x 9 inches, 22 months old, showed crushing strength of 2,530 and 2,610 pounds per square inch. These blocks were made of cement 1 / 4 parts, lime / 2 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 / 3 for openings, a net area of 192 inches. Such a block, 9 inches high, weighs 130 pounds. Assuming 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 × 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 in 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 5 / 2. 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 compression strength of 1,000 pounds.

There is no doubt that blocks with one-third opening are inconveniently and unnecessarily heavy. Such a block, 32 inches long, 12 inches wide, and 9 inches high, has walls about 3 / 2 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 manufacture, 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, / 2; 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, 1 / 2; sand and gravel, 6.

The cost of lime may be greatly reduced by using ordinary lump lime slaked to a paste. The lime must, however, be very thoroughly hydrated, so that no unslaked fragments may remain to make trouble by subsequent expansion. 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 Qualities.

—The chief fault of concrete building blocks, as ordinarily made, is their tendency to absorb water. In this respect they are generally no {697} worse than sandstone or common brick; it is well known that stone or brick walls are too permeable to allow plastering directly on the inside surface, and must be furred and lathed before plastering, to avoid dampness. This practice is generally 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 waterproof, but only that the absorption of water shall be slow, so that it may penetrate 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 inside 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 fill 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 concretes 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 become practically impermeable after exposure to weather for a few weeks or months. There appears to be a very decided increase in permeability when the cement is reduced 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 gravel with only 20 per cent voids would give about equally good results with a 1 to 5 mixture; 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 such material will prove permeable if poorer than 1 to 3.

3. Use of a Facing.—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 accomplishing 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} only 1 or 2 per cent of its weight, increase its water-resisting qualities in a remarkable degree. By thoroughly mixing 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 5 mixtures. In purchasing waterproof compound, however, 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 effect after a few days’ exposure to weather, and are entirely worthless.

6. Application to Surface after Erecting.—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 renewal, 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 outside 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 appearance is in no way injured.

General Hints On Waterproof Qualities.

—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 condition 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.

No. 2. With 10 per cent water, tamped in the mold, and 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 surface 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:

1 Damp-tamped 2 Wet-tamped 3 Poured

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, after 2 hours, per cent of weight 8.8 6.4 10.5

The rate at which these blocks absorbed water was then determined by drying them thoroughly, then placing them in a tray containing water / 4 inch in depth, and weighing them at intervals.

1 Damp-tamped 2 Wet-tamped 3 Poured

/ 2 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 slowly 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; or, $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 concrete. Now, blocks 9 inches high and 32 inches long make 2 square feet of face of wall, each. Blocks of this height {699} and length, 8 inches thick, make 1 / 3 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 / 3 or / 2 the total volume, as follows:

Per cubic foot of block, / 3 opening 7.7 cts.

Per cubic foot of block, / 2 opening 5.8 cts.

Block 8 x 9 x 32 inches, / 3 opening 10.3 cts.

Block 8 x 9 x 32 inches, / 2 opening 7.7 cts.

Block 12 x 9 x 32 inches, / 3 opening 15.4 cts.

Block 12 x 9 x 32 inches, / 2 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 manufacturing, 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-inch or 50 12-inch blocks, with / 3 openings, per day. The labor cost for these sizes of blocks will therefore be 7 cents and 10 / 2 cents respectively. At a factory equipped with power concrete mixer and cars for transporting 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, however, 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 fair estimate of total factory cost is as follows:

Material Labor Total

8 x 32 inch, / 3 space 10.3 7 17.3 cts.

8 x 32 inch, / 2 space 7.7 6 13.7 cts.

12 x 32 inch, / 3 space 15.4 10.5 25.9 cts.

12 x 32 inch, / 2 space 11.6 9 20.6 cts.

With fair allowance for outside expenses 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 / 2 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 competition.—S. B. Newberry in a monograph issued by the American Association of Portland 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° Bé. 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 latter product being simply prepared slate—may be produced in the following manner: The slate suitable for the purpose is first smoothly polished with a sandstone, so that no visible impression is made on it with a chisel—this being rough—after which it is polished finely with artificial pumice stone, and lastly finished with extremely light natural pumice stone, the surface then presenting a soft, velvet-like appearance. After drying and thoroughly heating the finely polished surface is impregnated with a heated 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. Polishing 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} clean linen rag. Treated thus, the slate has the appearance of black marble.

STONE CEMENTS: See Adhesives.

STONE CLEANING: See Cleaning Preparations and Methods.

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 lubricating 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 stoppers 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 imbedded, is obtained. By placing this on the neck of the bottle, and passing a current of electricity through the coils of wire, sufficient 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:

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 consisting 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 sulphate 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, 1 / 2 or 2 ounces; creosote, 1 drachm; shellac, 1 ounce; or quantity sufficient to render it sufficiently hard. To be boiled together with constant stirring, till it forms a homogeneous mass. For alveolar hemorrhage, and as a styptic in toothache. To be softened by molding with the fingers.

SULPHATE STAINS, TO REMOVE: See Cleaning Preparations and Methods.

SULTANA ROLL: See Ice Creams.

SUNBURN REMEDIES: See Cosmetics.

SUTURES OF CATGUT, THEIR PREPARATION: 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 in making the syrup, as only in this manner can a syrup be obtained that will be free from impurities and odor. There are two methods by which syrup can be made, namely, by the cold process, or by boiling. The advantage of the former is its convenience; 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 effected. 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 pounds 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 concentrated variety. Unless the apartments of the dispenser are larger than is usual, it is often best to buy the syrup, the difference in cost being so small that when the time is taken into consideration the profit is entirely lost. Foamed syrups should, however, never be purchased; they are either contaminated with foreign flavor, or are more prone to fermentation than plain syrup.

Fruit Syrups.

—These may be prepared 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 concentrated fruit syrups of the market with syrup, otherwise proceeding as above. As the fruit juices and concentrated syrups always have a tried formula attached, it is needless to use space for this purpose.

When a flavor is weak it may be fortified by adding a small amount of flavoring 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 preservation of syrups is purely a pharmaceutical 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 effected with promptness and facility. As is well known, the operation of sterilization is {702} 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 development of germ life upon exposure to the air. Hence the employment of heat as pasteurization and sterilization in the preserving 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 temperature, 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 immediately after gathering. The fruit must be freed from stems, seeds, etc., filled into lightly tied linen sacks, and thus subjected 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 necessary to make it a syrup. The heating serves the purpose of coagulating the albuminous 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 sarsaparilla, 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 barrel head, 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 gallons 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 product 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 dissolve, but as the water evaporates a solid mass will be formed. This must be broken up.

Continue to heat, with constant stirring, until the mass has again become liquefied. 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 obtained commercially;

II.—Tincture of indigo also makes a harmless blue. {703}

Sap Blue.—

Dark blue 3 parts

Grape sugar 1 part

Water 6 parts

Green.

—The addition of indigo-carmine 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 potassæ 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 California 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 sandalwood 1 part

Ethereal tincture of Orlean, q. s.

Add the orlean tincture to the sandalwood 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 percentage, 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.

Percentage by Volume. 1 Liter contains Specific Gravity at 60° F. 1 Liter contains Percentage by Weight.

Alcohol 95%. Gms. Distilled Water. Gms. Alcohol 95%. Gms. Distilled Water. 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

15 128.87 852.13 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

35 300.74 658.26 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 0.944 409.69 590.31 37.86

50 429.65 504.35 0.934 460.01 539.99 42.51

55 472.64 451.36 0.924 511.52 488.48 47.27

60 515.60 398.40 0.914 564.11 435.89 52.13

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

80 687.57 176.43 0.864 795.80 204.20 73.54

85 730.51 19.49 0.850 859.43 140.57 79.42

90 773.53 0.47 0.834 927.49 72.51 85.71

Capacities Of Common Utensils.

—For ordinary measuring purposes a wineglass may be said to hold 2 ounces.

A tablespoon, / 2 ounce.

A dessertspoon, / 4 ounce.

A teaspoon, / 8 ounce, or 1 drachm.

A teacupful of sugar weighs / 2 pound.

Three tablespoonfuls weigh / 4 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 tablespoon.

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 best brown sugar equals 1 ounce. {704}

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 necessary 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 4 / 2 drachms to a gallon.

Three drops of extract to an ounce of syrup are equal to 6 / 2 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 3 / 8 drachms to a gallon.

Six drops of extract to an ounce of syrup are equal to 1 ounce and 5 / 2 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 / 2 drachms to a gallon.

Nine drops of extract to an ounce of syrup are equal to 2 ounces and 4 / 2 drachms to a gallon.

Ten drops of extract to an ounce of syrup are equal to 2 ounces and 6 / 4 drachms to a gallon.

Twelve drops of extract to an ounce of syrup are equal to 3 ounces and 3 / 4 drachms 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 4 / 8 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 demonstrated, 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 fluidounce.

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 solutions, dissolve the amount of medicament indicated in sufficient water to make one imperial pint.

For / 50 per cent, or 1 in 5,000 solution, use 1 / 4 grains of the medicament.

For / 20 per cent, or 1 in 2,000 solution, use 4 / 8 grains of the medicament.

For / 10 per cent, or 1 in 1,000 solution, use 8 / 4 grains of the medicament.

For / 4 per cent, or 1 in 400 solution, use 21 / 8 grains of the medicament.

For / 2 per cent, or 1 in 200 solution, use 43 / 4 grains of the medicament.

For 1 per cent, or 1 in 100 solution, use 87 / 2 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 437 / 2 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 / 2 imperial pint of a 1 per cent solution will require 43 / 4 grains of the medicament.

Pressure Table.

—This table shows the amount of commercial sulphuric acid (H2SO4) and sodium bicarbonate necessary to produce a given pressure:

120 Pounds Pressure.

Water, gallons Soda Bicar., Av. ounces Acid Sulph., Av. ounces

10 86 50

20 123 71

30 161 93

40 198 118

50 236 138

135 Pounds Pressure.

Water, gallons Soda Bicar., Av. ounces Acid Sulph., 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 {705}

2. Amount of sugar in each gallon of syrup resulting therefrom:

Pounds of sugar added to one gallon of cold water. Quantity of syrup actually obtained. Pounds of sugar in one gallon of syrup.

Gallons. Pints. Fluidounces.

1 1 — 10 .93

2 1 1 4 1.73

3 1 1 14 2.43

4 1 2 3 3.05

5 1 3 2 3.6

6 1 3 12 4.09

7 1 4 6 4.52

8 1 5 — 4.92

9 1 5 10 5.28

10 1 6 4 5.62

11 1 6 14 5.92

12 1 7 8 6.18

13 2 — 2 6.38

14 2 — 12 6.7

15 2 1 6 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 number 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 removed 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 handkerchief with hydrogen peroxide, and with it rub the teeth, repeating the rubbing occasionally. Use some exceedingly 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 ornamental objects, consists of {706}

Albumen 10 parts

Magnesium sulphate 4 parts

Alum 9 parts

Calcium sulphate, calcined 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 Methods.

TEXTILE CLEANING: See Cleaning Preparations and Methods and Household Formulas.

Thermometers

Table Showing the Comparison of the Readings of Thermometers.

CELSIUS, OR CENTIGRADE (C). RÉAUMUR (R). FAHRENHEIT (F).

C. R. F.

−30 −24.0 −22.0

−25 −20.0 −13.0

−20 −16.0 − 4.0

−15 −12.0 + 5.0

−10 − 8.0 14.0

− 5 − 4.0 23.0

− 4 − 3.2 24.8

− 3 − 2.4 26.6

− 2 − 1.6 28.4

− 1 − 0.8 30.2

Freezing point of water.

0 0.0 32.0

1 0.8 33.8

2 1.6 35.6

3 2.4 37.4

4 3.2 39.2

5 4.0 41.0

6 4.8 42.8

7 5.6 44.6

8 6.4 46.4

9 7.2 48.2

10 8.0 50.0

11 8.8 51.8

12 9.6 53.6

13 10.4 55.4

14 11.2 57.2

15 12.0 59.0

16 12.8 60.8

17 13.6 62.6

18 14.4 64.4

19 15.2 66.2

20 16.0 68.0

21 16.8 69.8

22 17.6 71.6

23 18.4 73.4

24 19.2 75.2

25 20.0 77.0

26 20.8 78.8

27 21.6 80.6

28 22.4 82.4

29 23.2 84.2

30 24.0 86.0

31 24.8 87.8

32 25.6 89.6

33 26.4 91.4

34 27.2 93.2

35 28.0 95.0

36 28.8 96.8

37 29.6 98.6

38 30.4 100.4

39 31.2 102.2

40 32.0 104.0

41 32.8 105.8

42 33.6 107.6

43 34.4 109.4

44 35.2 111.2

45 36.0 113.0

50 40.0 122.0

55 44.0 131.0

60 48.0 140.0

65 52.0 149.0

70 56.0 158.0

75 60.0 167.0

80 64.0 176.0

85 68.0 185.0

90 72.0 194.0

95 76.0 203.0

100 80.0 212.0

Boiling point of water.

Readings on one scale can be changed into another by the following formulas, in which t° indicates degrees of temperature:

Réau. to Fahr.

/ 4 t° R + 32° = t° F

Réau. to Cent.

/ 4 t° R = t° C

Cent. to Fahr.

/ 5 t° C + 32° = t° F

Cent. to Réau.

/ 5 t° C = t° R

Fahr. to Cent.

/ 9 (t° F − 32°) = t° C

Fahr. to Réau.

/ 9 (t° F − 32°) = t° R

Thread:

Dressing For Sewing Thread.

—For colored thread: Irish moss, 3 pounds; gum arabic, 2 / 2 pounds; Japan wax, / 2 pound; stearine, 185 grams; borax, 95 grams; boil together for / 4 hour.

For white thread: Irish moss, 2 pounds; tapioca, 1 / 2 pounds; spermaceti, / 4 pound; stearine, 110 grams; borax, 95 grams; boil together for 20 minutes.

For black thread: Irish moss, 3 pounds; gum Senegal, 2 / 2 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 metal 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 turpentine and applied with a brush. The article after having dried is laid in a / 2 solution of nitric acid for 1 / 2 to 2 hours. It is then washed and dried with blotting {707} paper. The protective coating of asphalt is removed by heating. The 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 utilizing tinned-plate scrap consists essentially in the removal of the tin. This must be very completely carried out if the remaining iron is to be available for casting. The removal of the outer layer of pure tin from the tinned plate is an easy matter. Beneath this, however, is another crystalline layer consisting of an alloy of tin and iron, which is more difficult 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 electrolysis. 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 therefore 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 hydrochloric 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 insulating material impervious to the action of acids, such as slate. A copper plate forms the cathode. The bichloride of tin solution, freed from acid, is put round the carbon cylinder in the Bunsen element. Another innovation in this process 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, however, obtained during the treatment of the untinned iron which will be described 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 long 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 hydrochloric acid or sulphuric acid is therefore poured over the plate to remove the alloy, after the treatment with the bichloride 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 solution 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 battery. Both substances are easily oxidized, and form red oxide of iron when heated. The remaining solution can be crystallized by evaporation, so that ferrous 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 discontinuing, 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:

Tire:

Anti-leak Rubber Tire.

—Pneumatic tires can be made quite safe from punctures 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 composition used for the rollers of printing presses. This treatment will usually be found to effectually stop leaks in punctured 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 DETECTION IN VANILLA EXTRACTS: See Vanilla.

Tool Setting.

The term “setting” (grinding) is applied to the operation of giving an edge to the tools designed for cutting, scraping, 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 thickness and renders the cutting angle sharper. Good edges cannot be obtained except with the aid of the grindstone; 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 influence of the revolving motion, a defective 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 will 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 effected 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 composed of calcareous or argilaceous matter, 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 carborundum 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 surgical instruments, and only with oil. The Levant stone (Turkish sandstone) is the best of all for whetting. It is gray and semitransparent; when of inferior quality, it {709} is somewhat spotted with red. It is usually quite soft.

To restore stones and efface the inequalities 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:

Toothache Remedy.—

Camphor 4 drachms

Chloral hydrate 4 drachms

Oil of cloves 2 drachms

Oil of cajeput 2 drachms

Chloroform 12 drachms

Tincture of capsicum 24 drachms

TOOTH CEMENTS: See Cements.

TOOTH PASTES, POWDERS, SOAPS, AND WASHES: See Dentifrices.

TORTOISE-SHELL POLISHES: See Polishes.

TOOTH STRAIGHTENING: See Watchmakers’ Formulas.

TOUCHSTONE, AQUAFORTIS FOR THE: See Aquafortis.

TOY PAINT: See Paint.

TRACING-CLOTH CLEANERS: See Cleaning Preparations and Methods.

TRAGACANTH, MUCILAGE OF: See Adhesives, under Mucilages.

Transparencies:

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 becomes visible on the back by an elevation. When everything has been accurately pressed through, take, e. g., 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, according 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 drawing 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 burnisher 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 impression 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 position 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. {711}

TURTLE (MOCK) EXTRACT: See Condiments.

Twine:

Typewriter Ribbons

(See also Inks.)

The constituents of an ink for typewriter 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 copying.

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 agitation 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 coloring 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 lampblack to the solution in the mixture of benzine and turpentine.

After thus having explained the principles underlying the manufacture of permanent inks, we can pass more rapidly over the subject of copying inks, which 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 / 4 part), the corrigent; stronger alcohol (about 6 parts), the solvent. The desired aniline color will easily dissolve in the hot vehicle, soap will give the ink the necessary body and counteract the hygroscopic 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 thin 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 copying ink can be utilized here likewise.

Users of the typewriter should so set a fresh ribbon as to start at the edge nearest the operator, allowing it to run back and forth with the same adjustment until exhausted along that strip; then shift the ribbon forward the width of one letter, running until exhausted, and so on. Finally, when the whole ribbon is exhausted, 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.

Valves.

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 misuse 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} 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 invariably 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 centerpiece 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 lever. 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 rounding off all the corners with an old monkey wrench which is worn out and sprung. As the threads on all bonnets or centerpieces are doped with litharge or cement, a sharp jerk or jar on the wrench will start the bonnet much more quickly than a steady pull. Under no circumstances 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 the disk down through the seat or stripping the threads on bonnet where it screws into body. If it is impossible to remove bonnet 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.

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 has 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 repair work and starts out with 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 pipe at the other end, while he gets the hanger ready. The helper in the meantime 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 the 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 position and struck sharply with a hammer. 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 substances 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 expansion strains will relieve themselves at the weakest point, unless otherwise provided for. {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 Guadeloupe 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 producer. 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 inferior 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 exists 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, deodorized 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 alcohol, 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° F., 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 tincture perfectly clear it may be treated with pulverized magnesium carbonate, using from / 2 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 identical 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 determining reactions. Extract made without true vanilla can be detected by negative 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 in getting rosin, gums, etc., in solution, and to prevent subsequent turpidity. This treatment deepens the color very materially.

Place some of the extract to be examined 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 manufacture of the extract, the rosin will appear 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. Acidify. The rosin is thereby precipitated. Dissolve a portion of the rosin in alcohol; to one fraction add a few drops of ferric chloride; no striking coloration is produced. To another portion add hydrochloric acid; again there is little change in color. In alcoholic solution most rosins give color reactions with ferric 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} solidify, due to the excessive amount of organic acids, gums, and other extractive matter. The filtrate from this precipitate 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 great excess.

To Detect Tonka In Vanilla Extract.

—The following test depends on the chemical difference between coumarin and vanillin, the odorous principles of the two beans. Coumarin is the anhydride of coumaric acid, and on fusion with a caustic 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 quantity of the extract to dryness, and melting the residue with caustic potash. Transfer the fused mass to a test tube, neutralize 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 evident.

Vanilla Substitute.

—A substitute for vanilla extract is made from synthetic vanillin. The vanillin is simply dissolved in diluted alcohol and the solution colored with a little caramel and sweetened perhaps with syrup. The following 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 substances which contribute to the flavor; and connoisseurs prefer this combination, 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 Waterproofing.)

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 varieties 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 consists 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 hardening properties of the varnish.

In spirit varnish (that made with alcohol) 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 tenacious 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 dissipated, and leaves the gums on the surface of the work in a more or less granular 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 suppleness 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 turpentine, combined with linseed oil. The vehicle in which the rosins are dissolved must be soft and remain so in order to {715} keep the rosins soft which are of themselves naturally hard. Any varnish from which the solvent has completely dried out must of necessity become hard and glassy and chip off. But, on the other hand, 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 dissolve varnish rosins in a liquid very unlike them, nor in one in which they are quickly and highly soluble. Modern effort has been bent on inventing a cheap varnish, easily prepared, that will take the place of oil varnish, and the market is flooded with benzine, carbon bisulphide, 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 therefrom mixes perfectly with alcohol. This usually takes from a month 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 the 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), Socotrine or Bombay aloes (liver brown), asphalt, ivory, and bone black (black), sandalwood, pterocarpus santalinus, the heartwood (dark red), Indian sandalwood, pterocarpus indica, the heartwood (orange red), brazil wood (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 according to the various shades desired.

Manufacturing Hints.

—Glass, coarsely powdered, is often added to varnish when mixed in large quantities for the purpose of cutting the rosins and preventing them from adhering to the bottom and sides of the container. When possible, varnish should always be compounded 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. However, 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; otherwise the gum is burned. Because of this, juniper gum is usually displaced in oil varnish by gum dammar. Both of these gums, by their 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 brittle. Commercial sandarac is also often a mixture of the African rosin with dammar 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 gum 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 {716} tendency 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 color of old varnish is said to be based 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 seldom 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 varnishes or lacquers containing hard rosins 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 distillation of amber or very hard copal. This distillation removes a quantity of volatile 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 bearings 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 varnishes (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 asphalt 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 glossy 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 improves 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 bone 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 gum), 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 disproportion 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 requirements of the purchaser, and the nature of the wood to which the varnish is to be applied. Shellac varnish is usually tempered with sandarac, elemi, dammar, and the oil of linseed, turpentine, spike, or rosemary.

Various impurities held in suspension in shellac varnish may be entirely precipitated by the gradual addition of some {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 temperature renders it streaky (flacculent) and dim and has an unfavorable influence 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 uniformly 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 coating 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 defects of the paint are visible through the varnish, which frequently causes one to form the erroneous conclusion that the varnish has cracked.

6. All 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 varnishes clear; they are rubbed off easily and spoil the varnished work. A brush which has never been used does not produce clean work; it should be tried several times, and when it is found that the varnishing 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 dusting 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 handle. 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 vapor 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 prevented 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 exposure 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} with sharp vinegar. Coating with strongly diluted ox gall is also of advantage.

Amber Varnish.

—This varnish is capable 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 yellow amber in a suitable receptacle, such as an earthenware crucible, of sufficient strength, adding 14 pounds of sal gemmæ (rock or fossil salt), and then pouring in as much spring water as will dissolve the sal gemmæ. When the latter 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 sufficiently cool the amber is taken from the pot and immersed in spring water to eliminate the sal gemmæ, 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 evaporated, and is afterwards exposed to a gentle heat to entirely deprive it of humidity.

Asphalt Varnishes.

—Natural asphalt is not entirely soluble in any liquid. Alcohol 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 employment of ether as a solvent is impracticable 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 a 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 almost 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 / 5 of an inch in depth should evaporate in a short time so completely 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 consists 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 a 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 long 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 satisfactory 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 provided 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 length such that, when it is hung on the hook, its lower end is about 8 inches above the bottom of the cask. The cask is then filled with rectified oil of turpentine, closed, and left undisturbed for several days. The oil of turpentine penetrates into the bag and dissolves 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 opening to drain. If pulverized asphalt has {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 stiff brush and considerable force, forms a thick, weather-resisting, and very durable coating 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 by 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 difficulty of removing an old coat of asphalt varnish, which will not dissolve in turpentine 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 impurities.

Of artificial asphalt, the best for this purpose is the sort known as “mineral caoutchouc,” which is especially suitable 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 kerosene 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 linseed-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 asphalt, rosin, benzine, each 20 parts; linseed-oil varnish, oil of turpentine, coal-tar oil, each 10 parts; binoxide of manganese, roasted lampblack, each 2 parts. The solid ingredients are melted together 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 varnish, preferably made by a cold process, and requires less technical knowledge than the preparation of fatty varnishes. 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 convenient. After the barrel has received its raw material, it may be started and kept revolving for 24 hours. Long interruptions in the turning must be carefully 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 consume much 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 Varnish).—Take 50 parts, by weight, of Syrian asphalt; 50 parts, by weight, of copal oil; 50 parts, by 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 siccative, then the turpentine and linseed oil, which have been previously 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 industries. Different kinds are produced according to their use. They are called black Japanese varnishes, or black brilliant varnishes.

Black Japanese Varnish.

—I.—Sculpture varnish, 5 parts; red acaroid varnish, 2 parts; aniline black, / 4 part; Lyons blue, .0015 parts. If a sculpture varnish prepared with heated copal is employed, a black 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 50 parts

Dissolve the borax in the water, add {720} 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 / 2 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 Per Cent II Per Cent III Per Cent IV Per Cent V Per 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 Per Cent VII Per Cent VIII Per Cent IX Per 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 turpentine — — 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. Asphaltum 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 manufacturer 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 varnish for those parts of carriages which require the highest polish, is prepared as follows:

I.—Melt 8 pounds best copal and mix with 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, therefore 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 linseed oil, / 2 pound dried sugar of lead, 35 pounds oil of turpentine.

(b) Eight pounds good anime rosin, 10 pounds linseed oil, / 4 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 temperature 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 prevention or removal of mold or fungous formation. The salicylic acid contained in the mass acts as an antiseptic during the painting, and destroys all fungi present. {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 muriatic acid. This solution must be kept in glass or earthenware. It will dry in 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 produces a brilliant surface on metals and is very durable, resisting the effect of blows without scaling or chipping 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 yellow copper, 4.4 pounds of hard steel, and 4.4 pounds of soft steel, all in a comminuted 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 reflections, 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 perfectly, and is advantageous for the pieces of cycles and other mobiles.

Cold Enameling.

—This style of enameling 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 (vermilion).

Blue.—Ultramarine or Prussian blue.

Green.—Scheele’s green or Schweinfurt 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 minutes on the water bath (free fire should {722} 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 turpentine, 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 thickness 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 carriages) can also be nicely varnished with it.

Finishing Enamel For White Furniture.

—Various methods are practiced in finishing furniture in white enamel, and while numerous preparations intended for the purpose named are generally purchasable of local dealers in paint supplies, it is often really difficult, and frequently impossible, to obtain a first-class ready-made enamel. To prepare such an article take / 2 pint of white lead and add to it / 4 pint of pure turpentine, / 4 gill of pale coach Japan, and / 2 gill of white dammar varnish. Mix all the ingredients together thoroughly. 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. / 2 sandpaper, and then smoothed fine with No. / 2 paper. Then thin white lead to a free working consistency 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. 1 / 2 paper had best be done. Ordinarily, upon two coats of white lead, the enamel finish, as above detailed, may be successfully produced. 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.

—Enamel colors which dry quickly, but remain 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 / 2 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 temperature of the room in which the stirrer is and the hardness of the gums, requires 24 to 48 hours. When the gums are entirely dissolved add to the mixture a solution of 21 / 2 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 undissolved rosin from the varnish, it is poured through a hair sieve or through a threefold 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 corresponding 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 advantage 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, / 2 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.

III.—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. {723}

V.—Chrome Yellow, Pale.—Chrome yellow, 2 parts, by weight; lithopone, 2 parts, by weight; varnish, 40 parts, by weight; benzine, 1 / 2 parts, by weight.

VI.—Chrome Yellow, Dark.—Chrome yellow, dark, 2 parts, by weight; chrome orange, / 8 part, by weight; lithopone, 1 part, by weight; varnish, 35 parts, by weight; benzine, 1 part, by weight.

VII.—Pink, Pale.—Carmine, / 2 part, by weight; lithopone, 15 parts, by weight; varnish, 40 parts, by weight; benzine, 1 / 2 parts, by weight.

VIII.—Pink, Dark.—Carmine, / 2 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, / 2 part, by weight; varnish, 18 parts, by weight; benzine, / 2 part, by weight.

X.—Flesh Tint.—Chrome yellow, pale, 1 / 2 parts, by weight; graphite, / 8 part, by weight; lithopone, 15 parts, by weight; Turkey red, pale, 2 parts, by weight; varnish, 42 parts, by weight; benzine, / 2 part, by weight.

XI.—Carmine Red.—Lead sulphate, 5 parts, by weight; Turkey red, pale, 6 parts, by weight; carmine, 1 / 2 parts, by weight; orange minium, 3 parts, by weight; vermilion, 2 parts, by weight; varnish, 50 parts, by weight; benzine, 1 / 2 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, / 2 part, by weight.

XIV.—Violet.—Ultramarine, with red tinge, 10 parts, by weight; carmine, 0.5 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, / 2 part, by weight.

XVII.—Silk Green.—Silk green, 10 parts, by weight; chrome yellow, pale, / 2 part, by weight; lead sulphate, 5 parts, by weight; varnish, 30 parts, by weight; benzine, / 2 part, by weight.

XVIII.—Brown.—English red, 10 parts, by weight; ocher, light, 3 parts, by weight; varnish, 30 parts, by weight; benzine, / 2 part, by weight.

XIX.—Ocher.—French ocher, 10 parts, by weight; chrome yellow, dark, / 2 part, by weight; varnish, 30 parts, by weight; benzine, / 2 part, by weight.

XX.—Chocolate.—Umber, 10 parts, by weight; Florentine lake, / 8 part, by weight; varnish, 25 parts, by weight; benzine, / 2 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, / 2 part, by weight; graphite, / 2 part, by weight; varnish, 25 parts, by weight; lithopone, 5 parts, by weight.

XXIII.—Olive, Brownish.—Chrome orange, 5 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 / 2 parts, by weight.

XXIV.—Olive, Reddish.—Turkey red, dark, 75 parts, by weight; sap green, 75 parts, by weight; ocher, pale, 5 parts, by weight; varnish, 300 parts, by weight; benzine, 1 / 2 parts, by weight.

Engravers’ Varnishes.

In copper-plate engraving the plate must be covered with a dark-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 “etching grounds.” They are made according 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 common 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 penetrates, laying bare the metal beneath. After the lines thus drawn have been etched by immersing the plate in acid, the varnish is washed off with oil of turpentine.

The following formulas for etching grounds have been extensively used by engravers: {724}

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, powdered 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; sandarac, 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 I part of bleached or orange shellac in 5 parts of alcohol, the solution being allowed to stand and the clear portion then being decanted. 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 greenish cast. For green, use 1 part of aniline green (brilliant green) to 49 parts of the orange shellac solution. For yellow, use either 2 parts of extract of turmeric 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 shade desired. Mastic and juniper gum may be added to this varnish if a heavier body is desired.

II.—Benzoin, juniper gum, gum mastic, 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 mixture 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 rubber 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 imparts 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 rubbing 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 heating, 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 requires care and patience, and, it might be added, some experience.

The vessel is next coated with a varnish, made by the following formula:

Turpentine spirit 8 ounces

Oil of lavender 6 ounces

Camphor 1 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 {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 operator tells him that it is no longer advisable.

Some operators mix the coloring matter directly with the varnish; when this is done, care should be taken that the pigment is first reduced to an impalpable powder, and then thoroughly mixed with the liquid.

Label Varnishes.

I.— Sandarac 3 ounces av.

Mastic / 4 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 vessels often suffer damage from the spilling of the contents and the dripping after much pouring.

Formalin gelatin is capable of withstanding the baneful influence of ether, benzine, water, spirit of wine, oil, and most substances. The following method of applying the preservative is recommended: 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 572° F., with constant stirring. In the meantime, heat together at 392° F., for / 2 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 bisulphide 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 possesses 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, but it may also be employed for other metals, giving a coating unalterable and indestructible by water or atmospheric influences: Dissolve, preferably 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 carefully 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 objects, 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 interposing 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} 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 instruments.

Bronze Varnishes.

—I.—The following process yields a top varnish for bronze goods and other metallic ware in the most varying shades, the varnish excelling, besides, in high gloss and durability. Fill in a bottle, pale shellac, best quality, 40 parts, by weight; powdered 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 allowed 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 dissolve 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, producing in this way any shade from the deepest red to the color of gold. If required, dilute with spirit of wine. The application of the varnish should be conducted 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 acid with about 3 parts, by weight, of spirit of wine, and add to a small quantity of the varnish some of this mixture until the desired shade has been reached. Picric acid is poisonous, and the keeping of varnish mixed with this acid 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.

Brown Varnish.

—An excellent and quickly 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 / 2 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 / 2 part

Alcohol, a sufficient quantity.

Dissolve the two rosins in sufficient alcohol and add the glycerine.

Decorative Metal Varnishes.—

I Per Cent II Per Cent III Per Cent IV Per Cent

Seed lac 11.5 — — —

Amber 7.6 — — 13.5

Gamboge 7.6 — — —

Dragon’s blood 0.18 — — —

Saffron 0.16 — — —

Sandarac — 11.2 15.9 16.6

Mastic — 6.5 14.0 3.4

Elemi — 3.3 — —

Venice turpentine — — 1.0 3.4

Camphor — 1.5 — —

Aloe — — 7.0 —

Alcohol 72.96 77.5 66.1 63.2

As will be seen, only natural colors are used. The so-called “gold lacquer” is composed as follows: Sandarac, 6.25 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. Applied in a thin coating this varnish shows a handsome golden shade. Other metal varnishes have the following composition:

V Per Cent VI Per Cent VII Per Cent

Shellac 17.5 — 18.0

Yellow acaroid gum 13.1 25.0 —

Manila — 8.0 9.0

Alcohol 69.4 67.0 63.0

{727}

Gold Varnish.

—I.—A good gold varnish for coating moldings which produces great brilliancy is prepared as follows: Dissolve 3 pounds of shellac in 30 quarts of alcohol, 5 pounds of mastic in 5 quarts 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 alcohol, 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, the 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 cochineal 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 dissolved 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 another flask on the bath 30 ounces of gamboge in 500 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 explode. 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 acquired a light-brown shade, with oil of turpentine and add, with stirring, 15 parts, by weight, of fat copal varnish heated to 140° F. When the copper acetate has dissolved (in about / 4 hour), the mass is filled in a bottle and allowed to stand warm, for several days, shaking frequently. The gold varnish is then ready for use. Coat the articles uniformly with it, and heat in a drying chamber, whereupon, according to the degree of temperature, varying colorations are obtained, changing from green to yellow, then golden yellow, and finally orange to brown. When good copal varnish is employed, the varnish will adhere very firmly, so that the article can be pressed without damage.

Iron Varnishes.

—I.—A varnish obtained by dissolving wax in turpentine is useful. It gives a fairly hard coat, but has the drawback of filling up fine grooves, and so injuring the appearance of many metal ornaments.

II.—Shellac, 15 pounds; Siam benjamin, 13 pounds; alcohol, 80 pounds; formylchloride, 20 pounds.

III.—Sierra Leone copal, 6 pounds; dammar, 18 pounds; oleic acid, 3 pounds; alcohol, 40 pounds; oil of turpentine, 20 pounds; formylchloride, 15 pounds. The formylchloride not only effects the rapid drying necessary to prevent the varnish gravitating into hollows, but enables the alcohol to make a perfect solution of the rosin. The varnishes are excessively volatile, and must be stored accordingly.

Stove Varnishes.—

Shellac 12 parts

Manila copal 14 parts

Rosin 12 parts

Gallipot 2 parts

Benzoin 1 part

Lampblack 5 parts

Nigrosin, spirit-soluble 1 / 2 parts

Alcohol 250 parts

Tin Varnishes.

—I.—For Tin Boxes.—

In 75 parts of alcohol dissolve 15 parts of shellac, 2 parts of Venice turpentine, and 8 parts of sandarac.

II.—For Trays and Other Tinware.—The ground is prepared by adding to the white lead the tinting colors ground in good rubbing varnish and half oil of turpentine. For drier an admixture of “terebine” is recommended. With this lean and dull paint, coat the tins 2 or 3 times and blend. Next, grain with water or vinegar glaze, and varnish with pure Zanzibar copal varnish, or finest amber table-top varnish. There are other tried methods for varnishing tin, which are applicable for new goods, manufactured in large quantities, while they are less advantageous for the restoration of old, repeatedly used articles.

Varnish Substitutes.

A substitute for varnish is produced by adding to 100 parts of casein 10 to 25 parts of a 1 to 10 per cent soap solution and then 20 to 25 parts of slaked lime. The mixture is carefully kneaded until a perfectly homogeneous mass results. Then gradually add 25 to 40 parts of turpentine oil and sufficient {728} water for the mass to assume the consistency of varnish. If it is desired to preserve it for some time a little ammonia is added so that the casein lime does not separate. The surrogate is considerably cheaper than varnish and dries so quickly that paint ground with it may be applied twice in quick succession.

Zapon Varnishes.

—In the case of many articles which have been colored mechanically or by the battery, particularly with large pieces, an opaque varnish is used as a protection against atmospheric influences. The so-called brassoline, of a brown color, negroline, black, and zapon which is colorless, are employed, according to the color of the article. The last-named varnish is most commonly used, and gives a fine and durable coating, insoluble in almost all liquids which would come into consideration here, except that it will wash off in soap and water. Zapon varnish is a solution of collodion cotton and camphor in amyl acetate and amyl alcohol, and was formerly used to preserve old manuscripts and legal documents. In the process of zaponizing, the article is slightly warmed and immersed in the varnish, or the latter is applied with a brush. The solution is very durable, and has the advantage that after drying it will not show edges, rings, or spots. Zapon varnish which has become too thick must be diluted, and the brushes must be kept from becoming dry. If it is desired to give an especially warm tone, the article is treated with brushes which have been drawn over beeswax or mineral wax.

For the production of zapon or celluloid varnish, pour 20 parts of acetone over 2 parts of colorless celluloid waste, allowing it to stand for several days in a closed vessel, stirring frequently until the whole has dissolved into a clear, thick mass. Admix 78 parts of amyl acetate and clarify the zapon varnish by allowing it to settle for weeks.

VARNISH, HOW TO POUR OUT: See Castor Oil.

VARNISHES, INSULATING: See Insulation.

VARNISHES, PHOTOGRAPHIC RETOUCHING: See Photography.

VARNISH REMOVERS: See Cleaning Preparations and Methods.

VASELINE STAINS, TO REMOVE FROM CLOTHING: See Cleaning Preparations and Methods.

Vasolimentum.

This unguent is of two kinds, liquid and semi-solid. The former is prepared by mixing 500 parts of olein, 250 parts of alcoholic ammonia, and 1,000 parts of liquid paraffine, the whole being warmed until completely dissolved, and any loss in weight made up by addition of spirit. The semi-solid preparation is made of the same ingredients, except the paraffine salve is substituted for the liquid. The product is used as a basis for ointments in place of vasogene, and can be incorporated with a number of medicaments, such as 10 per cent of naphthol, 20 per cent of guaiacol, 25 per cent of juniper tar, 5 per cent of thiol, 6 per cent of iodine, 5 per cent of creosote, 10 per cent of ichthyol, 5 per cent of creolin, 2 per cent of menthol, etc.

VAT ENAMELS AND VARNISHES: See Varnishes.

VEGETABLES, TESTS FOR CANNED: See Foods.

VEGETABLE PARCHMENT: See Parchment.

VICHY: See Waters.

VICHY SALT: See Salts (Effervescent).

Veterinary Formulas

For Birds:

Asthma In Canaries.—

Tincture capsicum 5 drachms

Spirits chloroform 90 minims

Iron citrate, soluble 45 grains

Fennel water 3 / 2 ounces

Give a few drops on lump of sugar in the cage once daily.

Colas.—

Tincture ferri perchloride 1 drachm

Acid hydrochloric, dil. / 2 drachm

Glycerine 1 / 2 drachms

Aqua camphor, q. s. 1 ounce

Use 3 to 6 drops in drinking water.

Ointment For Healing.—

Peru balsam 60 grains

Cola cream 1 ounce

Apply. {729}

Constipation In Birds.—

F. E. senna 2 drachms

Syrup manna 1 ounce

Fennel water, q. s. 4 ounces

Give a few drops on sugar in cage once daily.

Diarrhœa.—

Tincture iron chloride 2 drachms

Paregoric 2 drachms

Caraway water 3 / 2 ounces

Give few drops on lump of sugar once daily.

Mocking-bird Food.—

Crackers 8 ounces

Corn 9 ounces

Rice 2 ounces

Hemp seed 1 ounce

Capsicum 10 grains

Mix and reduce to a coarse powder.

Foods For Red Birds.—

Sunflower seed 8 ounces

Hemp seed 16 ounces

Canary seed 10 ounces

Cracked wheat 8 ounces

Unshelled rice 6 ounces

Mix and grind to a coarse powder.

Canary-bird Food.—

Yolk of egg (dry) 2 ounces

Poppy heads (powdered) 1 ounce

Cuttlefish bone (powdered) 1 ounce

Sugar 2 ounces

Powdered crackers 8 ounces

Bird Tonic.—

Powdered capsicum 20 grains

Powdered gentian 1 drachm

Ferri peroxide / 2 ounce

Powdered sugar / 2 ounce

Syrup, q. s.

Put a piece size of pea in cage daily.

Tonic.—

I.— Tincture cinchona / 2 drachm

Tincture iron 2 drops

Glycerine 1 drachm

Caraway water 1 ounce

Put a few drops on lump of sugar in cage daily.

II.— Compound tincture cinchona 2 drachms

Compound tincture gentian 2 drachms

Syrup orange 1 ounce

Simple elixir 2 / 2 ounces

Put a few drops on lump of sugar in the cage daily.

Antiseptic Wash For Cage Birds.—

Chinosol, F. 2 drachms

Sugar (burnt) 20 minims

Aqua cinnamon 4 ounces

Aqua 20 ounces

Add 1 or 2 teaspoonfuls to the bath water and allow the birds to use it, when it will quickly destroy all parasites or germs in the feathers. To wash out the cages, use a mixture of 1 tablespoonful in a pint of hot water.

Mixed Bird Seed.—

Sicily canary 10 ounces

German rape 2 ounces

Russian hemp 1 ounce

German millet 3 ounces

For Horses And Cattle:

Blistering.

—Tincture cantharides, 1 ounce; camphorated oil, / 2 ounce. Apply a portion with friction 3 times a day until a blister shows. As it subsides apply again.

Horse-colic Remedy.

—I.—In making a horse-colic remedy containing tincture of opium, ether and chloroform, to be given in tablespoonful doses, apportion the ingredients about equally, and mix the dose with a pint of water.

Other formulas are:

II.— Chloroform anodyne 1 ounce

Spirit of nitrous ether 2 ounces

Linseed oil 13 ounces

Give in one dose and repeat in an hour if necessary.

Condition Powders.

—I.—Sulphur, 2 pounds; Glauber salts, 1 pound; black antimony, / 2 pound; powdered bloodroot, 4 ounces; copperas, / 2 pound; rosin, / 2 pound; asafetida, 2 ounces; saltpeter / 2 pound. Powder and mix well.

II.—Gentian, 4 ounces; potassium nitrate, 1 ounce; sulphur, 4 ounces; ginger (African), 4 ounces; antimony, 4 ounces; rosin, 2 ounces; Fœnugreek, 2 ounces; capsicum, 2 ounces; serpentaria, 2 ounces; sodium sulphate, 9 ounces; flaxseed meal, 16 ounces. All ingredients in fine powder. Dose: 1 tablespoonful in feed twice a day.

Veterinary Dose Table.

—For a colt 1 month old give / 24 of the full dose; 3 months old, / 12; 6 months old, / 6; 1 year old, / 3; 2 years old, / 2; 3 years old, / 4. Fluids for cattle usually the same dose as for the horse. Solids for cattle usually 1 / 2 times the dose for the horse. {730}

Drug. Horses. Cattle.

Aloes 1 to 8 dr. / 2 to 2 oz.

Alum 1 to 3 dr. 1 to 3 dr.

Aqua ammonia 3 to 5 dr. 3 to 5 dr.

Ammonia bromide / 4 to 2 oz. / 4 to 2 oz.

Ammonia carbonate 1 to 3 dr. 2 to 5 dr.

Ammonia iodide / 2 to 3 dr. 1 to 5 dr.

Antimony black 15 to 50 gr. ——

Areca nut 3 to 5 dr. ——

Arsenic 5 to 12 gr. 5 to 12 gr.

Asafetida 1 to 4 dr. / 2 to 2 oz.

Belladonna leaves / 2 to 2 oz. / 2 to 2 oz.

Buchu leaves / 2 to 3 oz. / 2 to 4 oz.

Calaber bean 4 to 12 gr. 4 to 12 gr.

Camphor / 2 to 2 dr. 2 to 3 dr.

Cantharides 5 to 25 gr. 12 to 30 gr.

Capsicum 1 to 2 dr. 1 to 3 dr.

Catechu 1 to 2 dr. 2 to 4 dr.

Chalk preparation 2 to 3 oz. 2 to 4 oz.

Chloral hydrate / 2 to 1 / 2 oz. / 2 to 1 / 2 oz.

Chloroform / 2 to 1 dr. / 2 to 2 dr.

Cinchona 1 to 3 dr. / 2 to 2 oz.

Copper sulphate / 2 to 2 dr. / 2 to 3 dr.

Creolin 1 to 5 dr. 2 to 5 dr.

Creosote 15 to 30 min. 1 to 2 dr.

Digitalis leaves 10 to 20 gr. 20 to 50 gr.

Dover powder / 2 to 2 dr. / 2 to 2 dr.

Ergot / 4 to 1 oz. / 4 to 1 oz.

Ether / 2 to 2 / 2 oz. 1 to 3 oz.

Ex. belladonna fluid / 2 to 2 dr. 2 to 4 dr.

Extract buchu fluid 1 to 5 dr. ——

Extract cannabis indica / 4 to / 2 dr. / 4 to 1 dr.

Fœnugreek / 2 to 3 oz. 1 to 3 oz.

Gallnuts 2 to 4 dr. / 2 to 1 oz.

Gentian 2 to 6 dr. / 2 to 1 oz.

Ginger 3 to 5 dr. / 2 to 2 oz.

Ipecac / 2 to 2 dr. / 2 to 3 dr.

Iron carbonate 1 to 2 dr. ——

Iron sulphate / 2 to 2 dr. 1 to 3 dr.

Juniper berries 1 to 2 oz. 1 to 3 oz.

Limewater 3 to 6 oz. 3 to 6 oz.

Magnesia sulphate / 2 to 3 lb. / 2 to 3 lb.

Mustard 2 to 4 dr. 2 to 6 dr.

Nux vomica / 2 to 1 dr. 2 to 3 dr.

Oil castor / 2 to 1 pt. / 2 to 1 pt.

Oil Croton 10 to 20 min. 1 to 2 dr.

Oil juniper / 2 to 2 dr. / 2 to 2 dr.

Oil linseed / 2 to 1 pt. / 2 to 2 pt.

Oil olive / 2 to 2 pt. 1 to 2 pt.

Oil savin 1 to 3 dr. 1 to 3 dr.

Oil turpentine / 2 to 2 oz. / 2 to 2 oz.

Opium / 2 to 2 dr. / 2 to 2 dr.

Potassium iodide 2 to 4 dr. 2 to 6 dr.

Potassium nitrate 1 to 2 oz. 1 to 2 oz.

Potassium sulphide 1 to 2 dr. 1 to 2 dr.

Quinine 10 to 30 gr. 20 to 40 gr.

Rhubarb / 2 to 1 oz. 1 to 2 oz.

Santonine 15 to 40 gr. / 2 to 1 dr.

Sodium hyposulphite / 2 to 1 oz. 1 to 3 oz.

Sodium sulphate / 2 to 2 lb. 1 to 2 lb.

Sodium sulphite / 2 to 1 oz. 1 to 3 oz.

Spirits ammonia, aromatic / 2 to 2 oz. 1 to 3 oz.

Spirits chloroform / 2 to 1 oz. 1 to 2 oz.

Spirits nitrous ether 1 to 3 oz. 1 to 3 oz.

Spirits peppermint 1 to 2 oz. 1 to 2 oz.

Strychnine sulphite / 2 to 1 gr. 1 to 3 gr.

Sulphur 2 to 4 oz. 2 to 4 oz.

Tincture aconite 5 to 30 min. 5 to 20 min.

Tincture asafetida 1 to 4 dr. ——

Tincture belladonna 1 to 3 dr. 2 to 4 dr.

Tincture cantharides 1 to 2 oz. / 2 to 1 oz.

Tincture columbo / 2 to 2 oz. 1 to 2 oz.

Tincture digitalis 1 to 3 dr. 2 to 4 dr.

Tincture iron 1 to 2 oz. 1 to 2 oz.

Tincture ginger / 2 to 2 oz. 1 to 2 oz.

Tincture nux vomica 2 to 4 dr. / 2 to 1 oz.

Tincture opium / 2 to 3 oz. 1 to 3 oz.

Tobacco / 2 to 1 dr. / 2 to 1 dr.

Vinegar 1 to 3 oz. 2 to 6 oz.

Whisky 2 to 10 oz. ——

White vitriol 5 to 15 gr. 5 to 15 gr.

Astringent.—

I.— Opium 12 grains

Camphor / 2 drachm

Catechu 1 drachm

One dose.

II.— Opium 12 grains

Camphor 1 drachm

Ginger 2 drachms

Castile soap 2 drachms

Anise 3 drachms

Licorice 2 drachms

Contracted Hoof Or Sore Feet.—

I.— Lard 1 part

Yellow wax 1 part

Linseed oil 1 part

Venice turpentine 1 part

Tar 1 part

Apply to the edge of the hair once a day.

II.— Rosin 4 ounces

Lard 8 ounces

Melt and add Powdered vertigris 1 ounce

Stir well; when partly cool add Turpentine 2 ounces

Apply to hoof about 1 inch down from the hair.

Cough.—

I.— Sodii bromide 180 grains

Creosote water 2 ounces

Fennel water 4 ounces

Half tablespoonful 4 times daily.

II.— Ammonia bromide 180 grains

Fennel water 4 ounces

Syrup licorice 4 ounces

Teaspoonful 4 times daily.

Cow Powder.—

Powdered catechu 60 grains

Powdered ginger 240 grains

Powdered gentian 240 grains

Powdered opium 30 grains

Cuts, Wounds, Sores.

I.—Tincture opium, 2 ounces; tannin, / 4 ounce.

II.—Tincture aloes, 1 ounce; tincture of myrrh, / 2 ounce; tincture of opium, / 2 ounce; water, 4 ounces. Apply night and morning.

III.—Lard, 4 ounces; beeswax, 4 ounces; rosin, 2 ounces; carbolic acid, / 4 ounce.

Diarrhœa.—

I.— Opium 15 grains

Peppermint / 4 ounce

Linseed meal 1 ounce

Give half in morning and remainder in evening in a pint of warm water. {731}

II.— Prepared chalk 6 ounces

Catechu 3 ounces

Opium 1 / 2 ounces

Ginger 3 ounces

Gentian 3 ounces

One powder 3 times a day in half a pint of warm water. One-sixth of dose for calves.

Diuretic Ball.—

I.— Oil juniper / 2 drachm

Rosin 2 drachms

Saltpeter 2 drachms

Camphor / 2 drachm

Castile soap 1 ounce

Flaxseed meal 1 ounce

Make 1 pill.

II.— Rosin 90 grains

Potassium nitrate 90 grains

Po buchu leaves 45 grains

Dose: 1 twice a day.

Drying Drink.—

Powdered alum 6 ounces

Armenian bole 2 ounces

Powdered juniper berries / 2 ounce

Once daily in 1 quart of warm gruel.

Epizooty Or Pinkeye.—

Sublimed sulphur / 2 ounce

Epsom salt 1 ounce

Charcoal / 2 ounce

Extract licorice 1 ounce

Fever.—

I.— Salicylic acid / 4 ounce

Sodium bicarbonate / 2 ounce

Magnesium sulphate 10 ounces

Give half in quart of warm bran water at night.

II.— Spirits niter 3 ounces

Tincture aconite 2 drachms

Fluid extract belladonna / 2 ounce

Nitrate potash 2 ounces

Muriate ammonia 2 ounces

Water, q.s 1 quart

Dose: Teaspoonful every 2 or 3 hours till better.

Heaves.

—I.—Balsam copaiba, 1 ounce; spirits of turpentine, 2 ounces; balsam fir, 1 ounce; cider vinegar, 16 ounces.

Tablespoonful once a day.

II.—Saltpeter, 1 ounce; indigo, / 2 ounce; rain or distilled water, 4 pints.

Dose: 1 pint twice a day.

Hide Bound.—

Elecampane 2 ounces

Licorice root 2 ounces

Fœnugreek 2 ounces

Rosin 2 ounces

Copperas / 2 ounce

Ginger 2 drachms

Gentian 1 drachm

Saltpeter 1 drachm

Valerian 1 drachm

Linseed meal 3 ounces

Sublimed sulphur 1 ounce

Black antimony 4 drachms

Tablespoonful twice a day.

Horse Embrocations And Liniments.

I.— Camphor 1 ounce

Acetic acid 15 ounces

Alcohol 18 ounces

Oil turpentine 51 ounces

Eggs 6

Distilled witch hazel 45 ounces

II.— Iodine 50 grains

Pot iodide 125 grains

Soap liniment 6 ounces

Influenza.

I.— Ammonia muriate 1 / 2 ounces

Gum camphor / 2 ounce

Pot chloride 1 ounce

Extract licorice, powdered 2 ounces

Molasses, q.s.

Make a mass. Dose: Tablespoonful in form of pill night and morning.

II.— Ammonium chloride 30 parts

Potassium nitrate 30 parts

Potassium sulphate in little crystals 100 parts

Licorice powder 65 parts

Mix. Dose: A tablespoonful, in a warm mash, 3 times daily.

Inflammation Of The Udder.

I.— Salicylic acid 40 grains

Mercurial ointment 1 ounce

Liniment of camphor 3 / 4 ounces

Apply and rub the udder carefully twice a day.

II.— Belladonna root 1 drachm

Oil turpentine 1 ounce

Camphor 1 drachm

Solution green soap, q.s. 6 ounces

Mix and make a liniment. Bathe the udder several times with hot water. Dry and apply above liniment.

Mange.

Sulphur is a specific for mange; the trouble consists in its application. The {732} old-fashioned lotion of train oil and black sulphur serves well enough, but for stabled animals something is wanted which will effectually destroy the parasites in harness and saddlery without injury to those expensive materials. The creosote emulsions and coal-tar derivatives generally are fatal to the sarcopts if brought into actual contact, but a harness pad with ridges of accumulated grease is a sufficient retreat for a few pregnant females during a perfunctory disinfection, and but a few days will be needed to reproduce a new and vigorous stock. A cheap and efficient application can be made by boiling together flowers of sulphur and calcis hydras in the proportion of 4 parts of the former to 1 of the latter, and 100 of water, for half an hour. It should be applied warm, or immediately after washing with soft soap.

Milk Powder For Cows.

—For increasing the flow of milk, in cows, Hager recommends the following mixture:

Potassium nitrate 1 part

Alum 1 part

Sublimed sulphur 1 part

Prepared chalk 1 part

White bole 2 parts

Red clover 5 parts

Anise 10 parts

Fennel 10 parts

Salt 10 parts

All should be in tolerably fine powder and should be well mixed. The directions are to give 1 or 2 handfuls with the morning feed.

Laxatives.

I.— Aloes 1 drachm

Soap 12 drachms

Caraway 4 drachms

Ginger 4 drachms

Treacle, q.s.

Make 4 balls. Dose: 1 daily.

II.— Rochelle salts 2 ounces

Aloes, powdered 150 grains

Linseed meal 150 grains

One dose, given in warm water.

Lice.—

Crude oil 1 ounce

Oil tar 1 ounce

Oil cedar 1 drachm

Cottonseed oil 5 ounces

Apply to parts.

Domestic Pets.

The sarcoptic itch of the dog, as well as that of the cat, is transmissible to man.

The Tinea tonsurans, the so-called barbers’ itch, due to a trychophyton, and affecting both the dog and cat, is highly contagious to man. Favus, Tinea favos, caused by achorion schoenleini, of both animals, is readily transmissible to human beings. The dog carries in his intestines many kinds of tœnia (tapeworm), among them Tœnia echinococcus, the eggs of which cause hydatic cysts. Hydatic cysts occur in persons who are always surrounded with dogs, or in constant contact with them.

Aviar diphtheria (i.e., the diphtheria of birds), caused by at least two microbes (bacillus of Klebs-Loeffler and bacillus coli), may easily be transmitted to man and cause in him symptoms analogous to those of true diphtheritic angina.

Parrots are subject to an infectious enteritis which may be communicated to human beings, giving rise to the so-called psittacosis (from the Greek, psitta, a parrot), of which there have been a number of epidemics in France. It is determined by the bacillus of Nocard.

Human tuberculosis is certainly transmitted to dogs, cats, and birds. Cadiot, Gibert, Roger, Benjamin, Petit, and Basset, as well as other observers, cite cases where dogs, cats, and parrots, presenting all the lesions of tuberculosis, were shown to have contracted it from contact with human beings; while there are no recorded cases, there can scarcely be a natural doubt that man may, in a similar manner, become attainted through them, and that their tuberculosis constitutes an actual danger to man.

Need we recall here the extraordinary facility with which hydrophobia is communicated to man through the dog, cat, etc.?

We may, therefore, conclude that we should not permit these animals to take up so much space in our apartments, nor should they be petted and caressed either by adults or children in the reckless manner common in many households. The disgusting habit of teaching animals to take bits of food, lumps of sugar, etc., from between the lips of members of the family is also to be shunned.

Finally, any or all of them should be banished from the house the moment that they display certain morbid symptoms. Besides, in certain cases, there should be a rigid prophylaxis against certain diseases—as echinococcus, for instance.

Worms.

—In cats and dogs, round worms, of which ascaris mystax is the {733} most common in cats, are found chiefly in young animals. This worm has hirsute appendages somewhat resembling a mustache. To treat an animal infected with such “guests,” the patient should be made to fast for 24 hours. For a small kitten / 2 grain of santonin, up to a grain or two for large cats, followed in an hour by a dose of castor oil, is recommended. To avoid spilling the oil on the animal’s coat the “doctor” should have it heated and whipped with warm milk. Another way to get cats to take it is to smear it on the bottoms of their front feet, when they will lick it off.

Areca nut, freshly ground by the druggist himself and administered in liberal doses, say 30 to 60 grains, will usually drive out any worms in the alimentary canal.

It is important that animals successfully treated for worms once should undergo the treatment a second or third time, as all the parasites may not have been killed or removed the first time, or their progeny may have developed in the field vacated by the parents.

The following is an effective formula:

German wormseed, powdered 1 drachm

Fluid extract of spigelia 3 drachms

Fluid extract of senna 1 drachm

Fluid extract of valerian 1 drachm

Syrup of buckthorn 2 ounces

Dose: From / 2 to 1 teaspoonful night and morning.

Foot Itch.

—The itch that affects the feet of poultry is contagious in a most insidious way. The various birds of a poultry yard in which the disease is prevalent, rarely contract it until after a comparatively long period of exposure, but sooner or later every bird will contract it. One infected bird is enough to infect a whole yard full, and once infected, it is exceedingly difficult to get rid of. The disease, however, affects birds only.

The treatment is simple. Having softened the feet by keeping them for some minutes in tepid water, the scabs that cover them are carefully detached, avoiding, as far as possible, causing them to bleed, and taking the precaution of throwing every scab into the fire. The feet are then carefully dried, with a bit of soft cotton material, which should afterwards be burned; then the entire surface is covered with ointment (Unguentum sulphuris kalinum). An alcoholic solution of Canada balsam is preferred by some. Protect the ointment by a proper appliance, and allow it to remain in contact 2 or 3 days. At the end of this time remove the applications and wash off with tepid suds. The bird will generally be found cured, but if not, repeat the treatment—removing the remaining scabs, which will be found soft enough without resorting to soaking in tepid water, and apply the ointment directly.

There is another method of treatment that has been found successful, which not only cures the infected birds but prevents the infection of others. It is simply providing a sand bath for the birds, under a little shed, where they can indulge themselves in rolling and scratching, the bath being composed of equal parts fine sand, charcoal in fine powder, ashes, and flowers of sulphur, sifted together. The bath should be renewed every week. In the course of a few weeks the cure is complete.

Foods.—

I.— Powdered egg shell or phosphate of lime 4 ounces

Iron sulphate 4 ounces

Powdered capsicum 4 ounces

Powdered Fœnugreek 2 ounces

Powdered black pepper 1 ounce

Silver sand 2 ounces

Powdered lentils 6 ounces

A tablespoonful to be mixed with sufficient feed for 20 hens.

II.— Oyster shell, ground 5 ounces

Magnesia 1 ounce

Calcium carbonate 3 ounces

Bone, ground 1 / 2 ounces

Mustard bran 1 / 2 ounces

Capsicum 1 ounce

Powders.—

I.— Cayenne pepper 2 parts

Allspice 4 parts

Ginger 6 parts

Powder and mix well together. A teaspoonful to be mixed with every pound of food, and fed 2 or 3 times a week. Also feed fresh meat, finely chopped.

II.— Powdered egg shells 4 parts

Powdered capsicum 4 parts

Sulphate of iron 4 parts

Powdered Fœnugreek 2 parts

Powdered black pepper 1 part

Sand 2 parts

Powdered dog biscuit 6 parts

A tablespoonful to be mixed with sufficient meal or porridge to feed 20 hens. {734}

Lice Powders.—

I.— Sulphur 4 ounces

Tobacco dust 6 ounces

Cedar oil / 4 ounce

White hellebore 4 ounces

Crude naphthol 1 ounce

Powdered chalk, q.s. 2 pounds

II.— Sulphur 1 ounce

Carbolic acid / 4 ounce

Crude naphthol 1 ounce

Powdered chalk 1 pound

Roup Or Gapes.

—Roup in poultry is caused by the presence of parasites or entozoa in the windpipe. Young birds are most commonly affected. The best method of treatment is to expose the affected bird to the fumes of heated carbolic acid until on the point of suffocation. The bird may be placed in a box with a hot brick, and carbolic acid placed thereon. The fowls soon recover from the incipient suffocation, and are almost always freed from the disease. Care must be taken to burn the parasites coughed out, and the bodies of any birds which may die of the disease. The following powders for the treatment of “roup” in poultry have been recommended:

I.— Potassium chlorate 1 ounce

Powdered cubebs 1 ounce

Powdered anise / 2 ounce

Powdered licorice 1 / 2 ounces

Mix a teaspoonful with the food for 20 hens.

II.— Ammonium chloride 1 ounce

Black antimony / 4 ounce

Powdered anise / 2 ounce

Powdered squill / 4 ounce

Powdered licorice 2 ounces

Mix and use in the foregoing.

For Sheep:

Dips.

—For the prevention of “scab” in sheep, which results from the burrowing of an acarus or the destruction of the parasite when present, various preparations of a somewhat similar character are used. The following formulas for sheep dips are recommended by the United States Department of Agriculture:

I.— Soap 1 pound

Crude carbolic acid 1 pint

Water 50 gallons

Dissolve the soap in a gallon or more of boiling water, add the acid, and stir thoroughly.

II.— Fresh skimmed milk 1 gallon

Kerosene 2 gallons

Churn together until emulsified, or mix and put into the mixture a force pump and direct the stream from the pump back into the mixture. The emulsification will take place more rapidly if the milk be added while boiling hot.

Use 1 gallon of this emulsion to each 10 gallons of water required.

Constipation.—

I.— Green soap 150 grains

Linseed oil 1 / 2 ounces

Water 15 ounces

Give / 5 every / 2 hour till action takes place.

II.— Calomel 1 / 2 grains

Sugar 15 grains

One dose.

Loss Of Appetite.—

Sodium sulphate, dried 90 grains

Sodium bicarbonate 30 grains

Rhubarb 30 grains

Calamus 90 grains

Form the mass into 6 pills. Give one twice daily.

Inflammation Of The Eyes.—

Zinc sulphate 20 grains

Mucilage quince seed 4 ounces

Distilled water 4 ounces

Bathe eyes twice daily.

Vinegar

I.—Into a hogshead with a large bunghole put 1,500 parts, by weight, of honey, 125 parts of carob-pods, cut into pieces, 50 parts of powdered red or white potassium bitartrate, 125 parts of powdered tartaric acid, 2,000 parts of raisin stems, 400 parts of the best brewers’ yeast, or 500 of leaven rubbed up in water; add 16,000 parts of triple vinegar and 34,000 parts of 40 per cent spirit, containing no fusel oil. Stir all vigorously together; fill up the hogshead with hot water (100° F.), close the bunghole with gauze to keep out insects, and let the contents of the cask stand for from 4 to 6 weeks or until they have turned to vinegar. The temperature of the room should be from 77° to 88° F.

Draw off half the vinegar, and fill the hogshead up again with 15 parts of soft water and 1 part of spirit (40 per cent). Do this 4 times, then draw off all the vinegar and begin the first process over again. This method of making vinegar is suitable for households and small dealers, but would not suffice for {735} wholesale manufacturers, since it would take too long to produce any large amount.

II.—Put into an upright wine cask open at the top, 14,000 parts, by weight, of lukewarm water, 2,333 parts of 60 per cent alcohol, 500 parts of brown sugar, 125 parts of powdered red or white potassium bitartrate, 250 parts of good brewers’ yeast, or 125 parts of leaven, 1,125 parts of triple vinegar, and stir until the substances are dissolved. Lay a cloth and a perforated cover over the cask and let it stand in a temperature of 72° to 77° F. from 4 to 6 weeks; then draw off the vinegar. The thick deposit at the bottom, the “mother of vinegar,” so called, can be used in making more vinegar. Pour over it the same quantities of water and alcohol used at first; but after the vinegar has been drawn off twice, half the first quantity of sugar and potassium bitartrate, and the whole quantity of yeast, must be added. This makes excellent vinegar.

III.—A good strong vinegar for household use may be made from apple or pear peelings. Put the peelings in a stone jar (not glazed with lead) or in a cask, and pour over them water and a little vinegar, fermented beer, soured wine, or beet juice. Stir well, cover with a linen cloth and leave in a warm room. The vinegar will be ready in 2 or 3 weeks.

IV.—Two wooden casks of any desired size, with light covers, are provided. They may be called A and B. A is filled with vinegar, a tenth part of this is poured off into B, and an equal amount of fermented beer, wine, or any other sweet or vinous liquid, or a mixture of 1,125 parts, by weight, of alcohol, 11,500 to 14,000 parts of water, and 1,125 parts of beet juice, put into A.

When vinegar is needed, it is drawn out of B, an equal quantity is poured from A into B and the same quantity of vinegar-making liquids put into A. In this way vinegar is constantly being made and the process may go on for years, provided that the casks are large enough so that not more than a tenth of the contents of A is used in a week. If too much is used, so that the vinegar in the first cask becomes weak, the course of the vinegar making is disturbed for a long time, and this fact, whose importance has not been understood, prevents this method—in its essential principles the best—from being employed on a large scale. The surplus in A acts as a fermentative.

Aromatic Vinegar.

—I.—Sixteen ounces glacial acetic acid, 40 drops oil of cloves, 40 drops oil of rosemary, 40 drops oil of bergamot, 16 drops oil of neroli, 30 drops oil of lavender, 1 drachm benzoic acid, / 2 ounce camphor, 30 to 40 drops compound tincture of lavender, 3 ounces spirit of wine. Dissolve the oils, the benzoic acid, and the camphor in the spirit of wine, mix with acetic acid and shake until bright, lastly adding the tincture of lavender to color.

II.—Dried leaves of rosemary, rue, wormwood, sage, mint, and lavender flowers, each / 2 ounce; bruised nutmegs, cloves, angelica root, and camphor, each / 4 of an ounce; rectified alcohol, 4 ounces; concentrated acetic acid, 16 ounces. Macerate the materials for a day in the alcohol; then add the acid and digest for 1 week longer at a temperature of 490° F. Finally press out the now aromatised acid and filter it.

Cider Vinegar.

—By “artificial vinegar” is meant vinegar made by the quick method with beechwood shavings. This cannot be carried out with any economy on a small scale, and requires a plant. A modification of the regular plan is as follows: Remove the head from a good tight whisky barrel, and put in a wooden faucet near the bottom. Fill the barrel with corn cobs and lay an empty coffee sack over them. Moisten the cobs by sprinkling them with some good, strong, natural vinegar, and let them soak for a few hours. After the lapse of 2 or 3 hours draw off the vinegar and again moisten the cobs, repeating this until they are rendered sour throughout, adding each time 1 quart of high wines to the vinegar before throwing it back on the cobs. This prevents the vinegar from becoming flat, by the absorption of its acetic acid by the cobs. Mix a gallon of molasses with a gallon of high wine and 14 gallons of water and pour it on the cobs. Soak for 8 hours, then draw off and pour on the cobs again. Repeat this twice daily, until the vinegar becomes sour enough to suit. By having a battery of barrels, say 4 barrels prepared as above, the manufacture may be made remunerative, especially if the residue of sugar casks in place of molasses, and the remnants of ale, etc., from the bar-rooms around town are used. All sugar-containing fruit may be utilized for vinegar making.

VINEGAR, TESTS FOR: See Foods.

VINEGAR, TOILET: See Cosmetics. {736}

VIOLET AMMONIA: See Cosmetics.

VIOLET WATER: See Perfumes.

VIOLIN ROSIN: See Rosin.

VIOLIN VARNISH: See Varnishes.

VISCOSE: See Celluloid.

VOICE LOZENGES: See Confectionery.

VULCANIZATION OF RUBBER: See Rubber.

WAGON GREASE: See Lubricants.

WALLS, DAMP: See Household Formulas.

WALL AND WALL-PAPER CLEANERS: See Cleaning Preparations and Methods, also Household Formulas.

WALL-PAPER DYES: See Dyes.

WALL-PAPER PASTE: See Adhesives.

WALL PAPER, REMOVAL OF: See Household Formulas.

WALL WATERPROOFING: See Waterproofing and Household Formulas.

WALL PRIMING: See Paints.

WALNUT: See Wood.

WARMING BOTTLE: See Bottles.

WARPING, PREVENTION OF: See Wood.

Warts

Wart Cure.—The following is especially useful in cases where the warts are very numerous:

I.— Chloral hydrate 1 part

Acetic acid 1 part

Salicylic acid 4 parts

Sulphuric ether 4 parts

Collodion 5 parts

Mix. Directions: Every morning apply the foregoing to the warts, painting one coat on another. Should the mass fall off without taking the warts with it, repeat the operation. Take, internally 10 grains of burnt magnesia daily.

II.— Sulphur 10 parts

Acetic acid 5 parts

Glycerine 25 parts

Keep the warts covered with this mixture.

WASHING FLUIDS AND POWDERS: See Laundry Preparations.

WASTE, PHOTOGRAPHIC, ITS DISPOSITION: See Photography.

WATCH—DIAL CEMENTS: See Adhesives, under Jewelers’ Cements.

WATCH GILDING: See Plating.

Watchmakers’ Formulas

Watch Manufacturers’ Alloys.

Some very tenacious and hard alloys, for making the parts of watches which are not sensitive to magnetism, are as follows:

I II III IV V VI VII

Platinum 62.75 62.75 62.75 54.32 0.5 0.5 —

Copper 18 16.20 16.20 16 18.5 18.5 25

Nickel 18 18 16.50 24.70 — 2 1

Cadmium 1.25 1.25 1.25 1.25 — — —

Cobalt — — 1.50 1.96 — — —

Tungsten — 1.80 1.80 1.77 — — —

Palladium — — — — 72 72 70

Silver — — — — 6.5 7 4

Rhodium — — — — 1 — —

Gold — — — — 1.5 — —

A non-magnetic alloy for watch-springs, wheels, etc.: Gold, 30 to 40 parts; palladium, 30 to 40 parts; copper, 10 to 20 parts; silver, 0.1 to 5 per cent; cobalt, 0.1 to 2.5 per cent; tungsten, 0.1 to 5 per cent; rhodium, 0.1 to 5 per cent; platinum, 0.1 to 5 per cent.

An Alloy For Watch Pinion Sockets.

—Gold, 31 parts; silver, 19 parts; copper, 39 parts; palladium, 1 part.

Replacing Rubies Whose Settings Have Deteriorated.

—Enlarge, with the squarer (steel brooch for enlarging holes), the hole of the old setting, and adjust it, with hard rubbing, to the extremity of a stem of pierced brass wire. Take the stem in an American nippers, and set the ruby at the extremity (the setting may be driven back by using a flat burnishing tool, very gently). Then take off with a cleaving file the part of the stem where the ruby is set, and diminish it to the thickness desired, by filing on the finger, or on cork. These operations finished, {737} a set stopper is obtained which now needs only to be solidly fixed at the suitable height, in the hole prepared.

To Straighten Bent Teeth.

—Bent teeth are straightened by means of the screwdriver used as a lever against the root of the adjacent teeth, and bent pivots may be held in the jaws of the pliers and the pinion bent with the fingers in the direction and to the extent required. For such a purpose, pliers having the jaws lined with brass are used so that the pivot is not bruised, and the bending has to be done with great care.

To Renew A Broken Barrel Tooth.

—Frequently, in consequence of the breaking of a spring, a tooth of a barrel is broken. Sometimes it may only be bent, in which case the blade of a penknife may be used with care. If 2 or 3 successive teeth are lacking, the best way is to change the barrel, but a single tooth may be easily renewed in this way: Drill a hole through the thickness of the tooth, taking care not to penetrate the drum; then fit in a piece of metal tightly and give it, as well as possible, the correct form of the tooth. To assure solidity, solder it; then clean and round the edges. Properly executed the repair will scarcely be noticed.

Heated Sawdust.

—Sawdust is known to have been employed from time immemorial by watchmakers and goldsmiths for the purpose of drying rinsed articles. The process of drying can be accelerated four-fold if the sawdust is heated before use. This must, however, be done with great caution and constant stirring.

To Repair A Dial, Etc., With Enamel Applied Cold.

—There are two kinds of false enamel for application, when cold, to damaged dials. The first, a mixture of white rosin and white lead, melts like sealing wax, which it closely resembles. It is advisable when about to apply it to gently heat the dial and the blade of a knife, and with the knife cut the piece of enamel of the requisite size and lay it on the dial. The new enamel must project somewhat above the old. When cold the surface is leveled by scraping, and a shining surface is at once produced by holding at a little distance from the flame of a spirit lamp. It is necessary to be very careful in conducting this operation, as the least excess of heat will burn the enamel and turn it yellow. It is, however, preferable to the following although more difficult to apply, as it is harder and does not become dirty so soon. The second false enamel contains white lead mixed with melted white wax. It is applied like cement, neatly filling up the space and afterwards rubbing with tissue paper to produce a shining surface. If rubbed with a knife blade or other steel implement its surface will be discolored.

Lettering A Clock Dial.

—Painting Roman characters on a clock dial is not such a difficult task as might at first be imagined. If one has a set of drawing instruments and properly proportions the letters, it is really simple. The letters should be proportioned as follows: The breadth of an “I” and a space should equal / 2 the breadth of an “X,” that is, if the “X” is / 2 inch broad, the “I” will be / 16 inch broad and the space between letters inch, thus making the “I” plus one space equal to / 4 inch or half the breadth of an “X.” The “V’s” should be the same breadth as the “X’s.” After the letters have been laid off in pencil, outline them with a ruling pen and fill in with a small camel’s-hair brush, using gloss black paint thinned to the proper consistency to work well in the ruling pen. Using the ruling pen to outline the letters gives sharp straight edges, which it would be impossible to obtain with a brush in the hands of an inexperienced person.

Verification Of The Depthings.

—In the verge watches, the English watches, and those of analogous caliber, it is often difficult to verify the depthings, except by the touch. For this reason we often find the upper plate pierced over each depth. In the jeweled places, instead of perforating the upper plate, it suffices to deposit a drop of very limpid oil on the ruby, taking care that it does not scatter. In this manner a lens is formed and one may readily distinguish the depthing.

To Make Or Enlarge A Dial Hole.

—By wetting the graver or the file with spirit of turpentine, cracks may be avoided and the work will be accomplished much quicker.

To Repair A Repeating Clock-bell.

—When the bell is broken, whether short off or at a distance, file it away and pierce it, and after having sharpened a little the stem of the spring which remains, push by force, in the hole just made, a thin piece of solder (pewter). The sound will not have changed in any appreciable manner.

A seconds pendulum of a regulator, which has no compensation for temperature will cause the clock to lose about {738} 1 second per day for each 3 degrees of increase in heat. A watch without a compensation balance will lose 6.11 seconds in 24 hours for each increase of 1° F. in heat.

To Remedy Worn Pinions.

—Turn the leaves or rollers so that the worn places upon them will be toward the arbor or shaft and fasten them in that position. If they are “rolling pinions,” and they cannot be secured otherwise, a little soft solder should be used.

Watchmakers’ Oil.

—I.—Put some lead shavings into neat’s foot oil, and allow to stand for some time, the longer the better. The lead neutralizes the acid, and the result is an oil that never corrodes or thickens.

II.—Stir up for some time best olive oil with water kept at the boiling point; then after the two fluids have separated, decant the oil and shake up with a little freshly burned lime. Let the mixture stand for some weeks in a bottle exposed to the sunlight and air, but protected from wet and dirt. When filtered, the oil will be nearly colorless, perfectly limpid, and will never thicken or become rancid.

To Weaken A Balance Spring.

—A balance spring may need weakening; this is effected by grinding the spring thinner. Remove the spring from the collet and place it upon a piece of pegwood cut to fit the center cod. A piece of soft iron wire, flattened so as to pass freely between the coils and charged with a little powdered oilstone, will serve as a grinder, and with it the strength of the spring may soon be reduced. Operations will be confined to the center coil, for no other part of the spring will rest sufficiently against the wood to enable it to be ground, but this will generally suffice. The effect will be rather rapid; therefore care should be taken or the spring may be made too weak.

To Make A Clock Strike Correctly.

—Pry the plates apart on the striking side, slip the pivots of the upper wheels out, and having disconnected them from the train, turn them partly around and put them back. If still incorrect, repeat the experiment. A few efforts at most will get them to work properly. The sound in cuckoo clocks is caused by a wire acting on a small bellows which is connected with two small pipes like organ pipes.

To Reblack Clock Hands.

—One coat of asphaltum varnish will make old rusty hands look as good as new, and will dry in a few minutes.

To Tighten A Ruby Pin.

—Set the ruby pin in asphaltum varnish. It will become hard in a few minutes and be much firmer and better than the gum shellac, generally used.

To Loosen A Rusty Screw In A Watch Movement.

—Put a little oil around the screw; heat the head lightly by means of a red-hot iron rod, applying the same for 2 or 3 minutes. The rusty screw may then be removed as easily as though it had just been put in.

Gilding Watch Movements.

(See also Gilding.)—In gilding watch movements, the greatest care must be observed with regard to cleanliness. The work is first to be placed into a weak solution of caustic potash for a few minutes, and then rinsed in cold water. The movements are now to be dipped into pickling acid (nitrous acid) for an instant, and then plunged immediately into cold water. After being finally rinsed in hot water, they may be placed in the gilding bath and allowed to remain therein until they have received the required coating. A few seconds will generally be sufficient, as this class of work does not require to be very strongly gilt. When gilt, the movements are to be rinsed in warm water, and scratch-brushed; they may then be returned to the bath, for an instant, to give them a good color. Lastly, rinse in hot water and place the movements in clean box sawdust. An economical mode of gilding watch movements is to employ a copper anode—working from the solution, add 10 parts of cream of tartar and a corresponding quantity of elutriated chalk to obtain a pulp that can be put on with the brush. The gilding or silvering obtained in this manner is pretty, but of slight durability. At the present time this method is only seldom employed, since the electroplating affords a means of producing gilding and silvering in a handsome and comparatively cheap manner, the metallic coating having to be but very thin. Gold and silver for this kind of work are used in the form of potassium cyanide of gold or potassium cyanide of silver solutions, it being a custom to copper the zinc articles previously by the aid of a battery, since the appearance will then be much handsomer than on zinc alone. Gilding or silvering with leaf metal is done by polishing the surface of the zinc bright and coating it with a very tough linseed-oil varnish diluted with 10 times the quantity of benzol. The metallic leaf is then laid on and polished with an agate. {739}

WATCHMAKERS’ CLEANING PREPARATIONS: See Cleaning Preparations and Methods.

WATCH MOVEMENTS, PALLADIUM PLATING OF: See Plating.

Water, Natural and Artificial

In making an artificial mineral water it must be remembered that it is seldom possible to reproduce the water by merely combining its chemical components. In other words, the analysis of the water cannot serve as a basis from which to prepare it, because even though all of the components were put together, many would be found insoluble, and others would form new chemical combinations, so that the result would differ widely from the mineral water imitated.

For example, carbonate of magnesia and carbonate of lime, which are important ingredients in most mineral waters, will not make a clear solution unless freshly precipitated. Hence, when these are to be reproduced in a mineral water it is customary to employ other substances, which will dissolve at once, and which will, upon combining, produce these salts. The order in which the salts are added is also a very important matter, for by dissolving the salts separately and then carefully combining them, solutions may be effected which would be impossible were all the salts added together to the water in the portable fountain.

In this connection the following table will be found useful:

Group I
Ammonium carbonate.
Ammonium chloride.
Sodium borate (borax).
Potassium carbonate.
Potassium chloride.
Potassium nitrate.
Potassium sulphate.
Sodium bromide.
Sodium carbonate.
Sodium chloride.
Sodium fluoride.
Sodium iodide.
Sodium nitrate.
Sodium phosphate.
Sodium pyrophosphate.
Sodium silicate.
Sodium sulphate.
Group 2
Lithium carbonate.
Group 3
Aluminum chloride.
Barium chloride.
Calcium bromide.
Calcium chloride.
Calcium nitrate.
Magnesium nitrate.
Strontium chloride.
Lithium chloride.
Group 4
Magnesium sulphate.
Alum (potassa or soda alum).
Group 5
Lime carbonate.
Magnesium carbonate hydrate.
Lime sulphate precipitate.
Group 6
Lithium carbonate.
Acid hydrochloric.
Acid sulphuric.
Iron chloride.
Iron pyrophosphate.
Iron sulphate.
Manganese chloride.
Manganese sulphate.
Group 7
Sodium arseniate, or sodium sulphide, or acid hydrosulphuric.

Explanation of Groups.—The explanation of the use of these groups is simple. When about to prepare an artificial mineral water, first ascertain from the formula which of the ingredients belong to group 1. These should be dissolved in water, and then be filtered and added to distilled water, and thoroughly agitated. Next the substance or substances belonging to group 2 should be dissolved in water, then filtered and added to the water, which should again be agitated. And so the operation should proceed; whatever ingredients are required from each group should be taken in turn, a solution made, and this solution, after being filtered, should be separately added to the fountain, and the latter be well agitated before the following solution is added.

For groups 1, 3, and 4, the salts should be dissolved in 5 times their weight of boiling, or 10 times their weight of cold, water. For group 2 (lithium carbonate) the proportions should be 1 part of lithium carbonate to about 130 parts of cold or boiling water. The substances mentioned in group 5 are added to the portable fountain in their solid state, and dissolve best when freshly precipitated. As carbonic acid gas aids their solution, it is best to charge the fountain after they are added, and agitate thoroughly, blowing off the charge afterwards if necessary.

In group 5 the lithium carbonate is dissolved in the acids (see also group 2), the iron and manganese salts are dissolved in 5 parts of boiling, or 10 parts of cold, water, the solution quickly filtered, the acids added to it, and the whole mixture added to the fountain already charged with gas, the cap being quickly taken off, and the solution poured in. The iron and manganese salts easily oxidize and produce turbidity, therefore the atmospheric air should be carefully {740} blown off under high pressure several times while charging fountains. The substances mentioned in group 7 are never put into the fountain, except the arseniate of sodium in the case of Vichy water, which contains but a trifling amount of this compound.

Most of the solutions may be prepared beforehand and be used when required, thus saving considerable time.

Formulas for various waters will be given at the end of this article.

A question which arises in preparing mineral waters is: What is the best charging pressure? As a general rule, they are charged to a lower pressure than plain soda; good authorities even recommend charging certain mineral waters as low as 30 pounds pressure to the square inch, but this seems much too low a pressure for the dispensing counter. From 50 to 120 pounds pressure would be a good limit, while plain soda may be served out as high as 180 pounds. There must be enough pressure completely to empty the fountain, while enabling sufficient gas to be retained by the water to give it a thorough pungency. Moreover, a high pressure to the mineral water enables a druggist at a pinch, when he runs out of plain soda, to use his Vichy water, instead, with the syruped drinks. The taste of the Vichy is not very perceptible when covered by the syrup, and most customers will not notice it.

Apollinaris Water.—

Sodium carbonate 2,835 grains

Sodium sulphate 335 grains

Sodium silicate 10 grains

Magnesium chloride 198 grains

Calcium chloride 40 grains

Potassa alum 57 grains

Magnesium carbonate hydrate 158 grains

Iron sulphate 21 grains

Hunyadi Water.—

Magnesium sulphate 400 parts

Sodium sulphate 400 parts

Potassium sulphate 2 parts

Sodium chloride 31 parts

Sodium bicarbonate 12 parts

Water 1 quart

Lithia Water.—

Lithium carbonate 120 grains

Sodium bicarbonate 1,100 grains

Carbonated water 10 gallons

For “still” lithia water, substitute lithium citrate for the carbonate in the above formula.

Seltzer Water.

—Hydrochloric acid (chemically pure), 2,520 grains; pure water, 40 ounces. Mix and add marble dust, 240 grains; carbonate of magnesium, 420 grains. Dissolve, and after 1 hour add bicarbonate of sodium, 2,540 grains. Dissolve, then add sufficient pure water to make 10 gallons. Filter and charge to 100 pounds pressure.

Vichy Water.

—The following formula, based on the analysis of Bauer-Struve, yields an imitation of

Vichy (Grande Grille).

Sodium iodide 0.016 parts

Sodium bromide 0.08 parts

Sodium phosphate 2 parts

Sodium silicate 80 parts

Potassium sulphate 125 parts

Sodium chloride 139 parts

Sodium carbonate 6,792 parts

Aluminum chloride 1 part

Strontium chloride 1 part

Ammonium chloride 3 parts

Magnesium chloride 24 parts

Calcium chloride 170 parts

Manganese sulphate 0.46 parts

Iron sulphate 1 part

Sulphuric acid 40 parts

Water to make 10 gallons

Mix the first 7 ingredients with about 10 times their weight of water and filter. In the same manner, mix the next 5 ingredients with water and filter; and then the last 3 ingredients. Pour these solutions into sufficient water contained in a fountain to make 10 gallons, and charge at once with carbon dioxide gas.

Waters like the above are more correctly named “imitation” than “artificial,” as the acidic and basic radicals may bear different relations to one another in the natural and the other.

Purifying Water.

Sterilization of Water with Lime Chloride.

—In order to disinfect and sterilize 1,000 parts of drinking water, 0.15 parts of dry chloride of lime are sufficient. The lime is stirred with a little water into a thin paste and introduced, with stirring, into the water to be disinfected and a few drops of officinal hydrochloric acid are added. After / 2 hour the clarification and disinfection is accomplished, whereupon 0.3 parts of calcium sulphite are added, in order to kill the unpleasant smell and taste of the chlorine.

Clarifying Muddy Water.

—The water supply from rivers is so muddy at times that it will not go through the filter. When this happens agitate each barrel of water with 2 pounds of phosphate of lime and allow it to settle. This will take but a few minutes, and it will be found that most of the impurities have been carried down to the bottom. The water can then be drawn off carefully and filtered.

Removal Of Iron From Drinking Water.

—The simplest method for removing the taste of iron in spring water is to pass the water through a filter containing a layer of tricalcic phosphate either in connection with other filtering materials or alone. The phosphate is first recovered in a gelatinous form, then dried and powdered.

For Hardness.

—A solution perfectly adapted to this purpose, and one which may be kept a long time, is prepared as follows:

Thirty-five parts of almond oil are mixed with 50 parts of glycerine of 1.26 specific gravity and 8.5 parts of 50 per cent soda lye, and boiled to saponification. To this mixture, when it has cooled to from 85° to 90° C. (185° to 194° F.), are added 100 to 125 parts of boiling water. After cooling again, 500 parts of water are added, and the solution is poured into a quart flask, with 94 per cent alcohol to make up a quart. After standing 2 months it is filtered. Twenty hydrolimeter degrees of this solution make, with 40 parts of a solution of 0.55 grams of barium chloride in 1 quart of water, a dense lather 1 centimeter high.

WATER (COPPER): See Copper.

WATER ICES: See Ice Creams.

WATER, TO FREEZE: See Refrigeration.

WATER JACKETS, ANTI-FREEZING SOLUTIONS FOR: See Freezing Preventives.

WATER SPOTS, PRIMING FOR: See Paint.

WATER STAINS: See Wood.

WATER-LILY ROOTS: See Pyrotechnics.

WATER, STIRRED YELLOW, SCARLET AND COLORLESS: See Pyrotechnics.

WATERS (TOILET): See Cosmetics.

WATER-GLASS CEMENTS: See Adhesives.

WATER GLASS IN STEREOCHROMATIC PAINTING: See Stereochromy.

Waterproofing

(See also Enamels, Glazes, Paints, Preservatives, Varnishes.)

Waterproofing Brick Arches.

—Waterproofing of brick arches is done in the following manner: The masonry is first smoothed over with cement mortar. This is then covered with a special compound on which a layer of Hydrex felt is laid so as to lap at least 12 inches on the transverse seams. Five layers of compound and 5 of felt are used, and special attention is paid to securing tightness around the drain pipes and at the spandrel walls. In fact the belt is carried up the back of the latter and turned into the joint under the coping about 2 inches, where it is held with cement mortar. The waterproofing on the arches is protected with 1 inch of cement mortar and that on the walls with a single course of brickwork.

Waterproofing Blue Prints.

—Use refined paraffine, and apply by immersing the print in the melted wax, or more conveniently as follows: Immerse in melted paraffine until saturated, a number of pieces of an absorbent cloth a foot or more square. When withdrawn and cooled they are ready for use at any time. {742} To apply to a blue print, spread one of the saturated cloths on a smooth surface, place the dry print on it with a second waxed cloth on top, and iron with a moderately hot flatiron. The paper immediately absorbs paraffine until saturated, and becomes translucent and highly waterproofed. The lines of the print are intensified by the process, and there is no shrinking or distortion. As the wax is withdrawn from the cloths, more can be added by melting small pieces directly under the iron.

By immersing the print in a bath of melted paraffine the process is hastened, but the ironing is necessary to remove the surplus wax from the surface, unless the paper is to be directly exposed to the weather and not to be handled. The irons can be heated in most offices by gas or over a lamp, and a supply of saturated cloths obviates the necessity of the bath. This process, which was originally applied to blue prints to be carried by the engineer corps in wet mines, is equally applicable to any kind of paper, and is convenient for waterproofing typewritten or other notices to be posted up and exposed to the weather.

Waterproof Coatings.

—I.—Rosin oil, 50 parts; rosin, 30 parts; white soap, 9 parts. Apply hot on the surfaces to be protected.

II.—It has been observed that when gluten dried at an ordinary temperature, hence capable of absorbing water, is mixed with glycerine and heated, it becomes water-repelling and suitable for a waterproof paint. One part of gluten is mixed with parts of glycerine, whereby a slimy mass is obtained which is applied on fabrics subsequently subjected to a heat of 248° F. The heating should not last until all glycerine has evaporated, otherwise the coating becomes brittle and peels off.

Waterproofing Canvas.

—I.—The canvas is coated with a mixture of the three solutions named below:

1. Gelatin, 50 parts; by weight, boiled in 3,000 parts of water free from lime. 2. Alum, 100 parts, dissolved in 3,000 parts of water. 3. Soda soap dissolved in 2,000 parts of water.

II.—Prepare a zinc soap by entirely dissolving 56 parts of soft soap in 125 to 150 parts of water. To the boiling liquid add, with constant stirring, 28 to 33 parts of zinc vitriol (white vitriol). The zinc soap floats on top and forms, after cooling, a hard white mass, which is taken out. In order to clean it of admixed carbonic alkali, it must be remelted in boiling fresh water. Next place 232.5 parts of raw linseed oil (free from mucus) in a kettle with 2.5 parts of best potash, and 5 parts of water. This mass is boiled until it has become white and opaque and forms a liquid, soap-like compound. Now, add sugar of lead, 1.25 parts; litharge, 1 part; red lead, 2 parts; and brown rosin, 10.5 parts. The whole is boiled together about 1 hour, the temperature not being allowed to exceed 212° F., and stirring well from time to time. After this add 15 parts of zinc soap and stir the whole until the metal soap has combined with the oil, the temperature not exceeding 212° F. When the mixture is complete, add a solution of caoutchouc, 1.2 parts, and oil of turpentine, 8.56 parts, which must be well incorporated by stirring. The material is first coated on one side by means of a brush with this composition, which must have a temperature of 158° F. Thereupon hang it up to dry, then apply a second layer of composition possessing the same temperature, which is likewise allowed to dry. The fiber is now filled out, so that the canvas is waterproof.

Waterproofing Corks.

—For the purpose of making corks as impervious as possible, while at the same time keeping them elastic, saturate them with caoutchouc solution. Dissolve caoutchouc in benzine in the ratio of 1 part of caoutchouc to 19 parts of benzine. Into this liquid lay the corks to be impregnated and subject them to a pressure of 150 to 180 pounds by means of a force pump, so that the liquid can thoroughly enter. The corks thus treated must next be exposed to a strong draught of air until all trace of benzine has entirely evaporated and no more smell is noticeable.

Waterproofing Fabrics.

It will be convenient to divide waterproof fabrics into two classes, viz., those which are impervious to water, and those which are water-repellent. It is important to make this distinction, for, although all waterproof material is made for the purpose of resisting water, there is a vast difference between the two classes. The physical difference between them can be briefly summed up as follows: Fabrics which are completely impervious to water comprise oil-skins, mackintoshes, and all materials having a water-resisting film on one or both sides, or in the interior of the fabric. Those coming under the second heading of water-repellent materials do not possess {743} this film, but have their fibers so treated as to offer less attraction to the water than the water molecules have for themselves.

The principal members of the first group are the rubber-proofed goods; in these the agent employed is rubber in greater or less quantity, together with other bodies of varying properties. Before enlarging on this class, it will be necessary to give a short description of the chemical and physical properties of rubber.

Rubber, or caoutchouc, is a natural gum exuding from a large number of plants, those of the Euphorbiaceæ being the chief source for the commercial variety. The raw material appears on the market in the shape of blocks, cakes, or bottle-shaped masses, according to the manner in which it has been collected. It possesses a dark-brown—sometimes nearly black-exterior; the interior of the mass is of a lighter shade, and varies from a dingy brown to a dirty white, the color depending on the different brands and sources. In the raw state its properties are very different from what they are after going through the various manufacturing processes, and it has only a few of the characteristics which are generally associated with India rubber. Chemically it is a complex hydrocarbon with the formula C45H36, and appears to consist of a highly porous network of cells having several different rosins in their interstices. It is perfectly soluble in no single solvent, but will yield some of its constituents to many different solvents. At a temperature of 10° C. (50° F.) raw caoutchouc is a solid body and possesses very little elasticity. At 36° C. (97° F.) it is soft and elastic to a high degree, and is capable of being stretched 16 times its length. Further increase of temperature lessens its elastic properties, and at 120° C. (248° F.) it melts. While in the raw condition it has several peculiar properties, one of which is: After stretching, and cooling suddenly while stretched, it retains its new form, and only regains its former shape on being warmed. Another striking feature is its strong adhesive capacity; this property is so powerful that the rubber cannot be cut with a knife unless the blade is wet; and freshly cut portions, if pressed together, will adhere and form a homogeneous mass. From these facts it will be seen how it differs from rubber in the shape of a cycle tire or other manufactured form.

The most valuable property possessed by raw caoutchouc is that of entering into chemical combination with sulphur, after which its elasticity is much increased; it will then bear far greater gradations of heat and cold. This chemical treatment of caoutchouc with sulphur is known as “vulcanizing,” and, if properly carried out, will yield either soft vulcanized rubber or the hard variety known as vulcanite. On the other hand, caoutchouc, after vulcanizing, has lost its plastic nature, and can no longer be molded into various shapes, so that in the production of stamped or molded objects, the customary method is to form them in unvulcanized rubber and then to vulcanize them.

Raw caoutchouc contains a number of natural impurities, such as sand, twigs, soil, etc.; these require removing before the manufacturing processes can be carried out. The first operation, after rough washing, is to shred the raw material into small strips, so as to enable the impurities to be washed out. This process is carried out by pressing the rubber against the surface of a revolving drum (A, Fig. 1), carrying a number of diagonally arranged knives, B, on its surface. A lever, C, presses the rubber against the knives; D is the fulcrum on which C works, E being a weight which throws back the lever on the pressure being removed. During {744} this operation a jet of water is kept playing onto the knives to cool and enable them to cut.

Following this comes the passage between a pair of corrugated steel rollers (as shown in Fig. 2). These rollers have each a different speed, so that the rubber gets stretched and squeezed at the same time. Immediately over the rollers a water pipe is fixed, so that a steady stream of water washes out all the sand and other extraneous matter. In Fig. 2, AA are the steel rollers, while B is a screw working springs which regulate the pressure between the rollers. The power is transmitted from below from the pulley, C, and thence to the gearing.

The next operation, after well drying, is to thoroughly masticate the shredded rubber between hot steel rollers, which resemble those already described, but usually have a screw-thread cut on their surfaces. Fig. 3 shows the front view of this masticating machine, A being the rollers, while the steam pipe for heating is shown at B. Fig. 3a gives a top view of the same machine, showing the two rollers.

After passing several times through these, the rubber will be in the form of homogeneous strips, and is then ready either for molding or dissolving. As we are dealing solely with waterproofed textiles, the next process which concerns us is the dissolving of the rubber in a suitable solvent. Benzol, carbon bisulphide, oil of turpentine, ether, and absolute alcohol, will each dissolve a certain amount of rubber, but no one of them used alone gives a thorough solution. The agent commonly employed is carbon bisulphide, together with 10 per cent of absolute alcohol. Whatever solvent is used, after being steeped in it for some hours the caoutchouc swells out enormously, and then requires the addition of some other solvent to effect a complete solution. A general method is to place the finely shredded rubber in a closed vessel, to cover it with carbon bisulphide, and allow to stand for some hours. Toward the end of the time the vessel is warmed by means of a steam coil or jacket, and 10 parts absolute alcohol are added for every 100 parts of carbon bisulphide. The whole is then kept gently stirred for a few hours. Fig. 4 shows a common type of the vessel used for dissolving rubber. In this diagram A is the interior of the vessel, and B a revolving mixer in the same. The whole vessel is surrounded by a steam jacket, C, with a steam inlet at D and a tap for condensed water at E. F is the cock by which the solution is drawn off.

After the rubber is dissolved, about 12 to 24 per cent of sulphur is added, and thoroughly incorporated with the solution. The sulphur may be in the form of chloride of sulphur, or as sulphur pure and simple. A very small quantity of sulphur is required to give the necessary result, 2 to 3 per cent being sufficient to effect vulcanization; but a large quantity is always added to hasten the operation.

Even after prolonged treatment with the two solvents, a solution of uniform consistency is never obtained: clots of a thicker nature will be found floating in the solution, and the next operation is to knead it up so as to obtain equal {745} density throughout. Fig. 5 will give an idea of how this mixing is done.

At the top of a closed wooden chamber is a covered reservoir, A, containing the solution of rubber. A long slit at the base of this reservoir allows the solution to fall between sets of metal rollers, BBB below. Neighboring rollers are revolving in opposite directions, and at different speeds, so that, after passing all three sets of rollers, and emerging at the bottom, the solution should be of uniform consistency. CCC are the guiding funnels, and EE are scrapers to clear the solution from the rollers. D is a wedge-shaped plug worked by a rack and pinion, and regulates the flow of the solution.

It now remains to apply the rubber to the fabric and vulcanize it. Up to this stage the sulphur has only been mechanically mixed with the rubber; the aid of heat is now required to bring about chemical combination between the two. This process, which is known as “burning,” consists in subjecting the rubber-covered fabric to a temperature of about 248° F. Sulphur itself melts at 239° F., and the temperature at which combination takes place must be above this. Fig. 6 shows one of the methods of spreading the rubber on the cloth. A is the tank containing the solution with an outlet at the bottom arranged so as to regulate the flow of solution. The fabric passes slowly underneath this, receiving as it travels a thin coating of the waterproofing. The two rollers at B press the solution into the fabric and distribute the proofing evenly over the entire surface.

After leaving the two squeezing rollers, the cloth travels slowly through a covered chamber, C, having a series of steam pipes, EE, underneath, to evaporate the solvent; this condenses on the upper portion of the chamber, which is kept cooled, and flows down the sides into suitable receptacles. After this the proofed cloth is vulcanized by passing round metal cylinders heated to the necessary temperature, or by passing through a heated chamber. Fig. 7 shows the spreading of rubber between two fabrics. The two cloths are wound evenly on the rollers, BB; from this they are drawn conjointly through the rollers, D, the stream of proofing solution flowing down between the rollers, which then press the two fabrics together with the rubber inside. The lower rollers marked CC are heated to the necessary degree, and cause the rubber and sulphur to combine in chemical union.

So far the operation of proofing has been described as though pure rubber only was used; in practice the rubber forms only a small percentage of the proofing material, its place being taken by cheaper bodies. One of the common ingredients of proofing mixtures is boiled linseed oil, together with a small quantity of litharge; this dries very quickly, and forms a glassy flexible film. Coal tar, shellac, colophony, etc., are all used, together with India-rubber varnish, to make {746} different waterproof compositions. Oil of turpentine and benzol form good solvents for rubber, but it is absolutely essential that both rubber and solvent be perfectly anhydrous before mixing. Oil of turpentine, alcohol, etc., can be best deprived of water by mixing with either sulphuric acid or dehydrated copper sulphate, and allowing to stand. The acid or the copper salt will absorb the water and sink to the bottom, leaving a supernatant layer of dehydrated turpentine or whatever solvent is used. All the sulphur in a rubber-proofed cloth is not in combination with the rubber; it is frequently found that, after a lapse of time, rubber-proofed material shows an efflorescence of sulphur on the surface, due to excess of sulphur, and occasionally the fabric becomes stiff and the proofing scales off. Whenever a large proportion of sulphur is present, there is always the danger of the rubbers forming slowly into the hard vulcanite state, as the substance commonly called vulcanite consists only of ordinary vulcanized rubber carried a stage further by more sulphur being used and extra heat applied. If after vulcanizing, rubber is treated with caustic soda, all this superfluous sulphur can be extracted; if it is then well washed the rubber will retain its elasticity for a long period. With the old methods of proofing, a sheet of vulcanized rubber was cemented to a fabric with rubber varnish, and frequently this desulphurizing was performed before cementing together. The result was a flexible and durable cloth, but of great weight and thickness, and expensive to produce.

The chemistry of rubber is very little understood; as mentioned previously, rubber is a highly complex body, liable to go through many changes. These changes are likely to be greater in rubber varnish, consisting of half a dozen or more ingredients, than in the case of rubber alone. The action of sunlight has a powerful effect on rubber, much to its detriment, and appears to increase its tendency to oxidize. Vulcanized rubber keeps its properties better under water than when exposed to the air, and changes more slowly if kept away from the light. It appears as though a slight decomposition always takes place even with pure rubber; but the presence of so many differently constituted substances as sometimes occur in rubber solutions no doubt makes things worse. Whenever a number of different bodies with varying properties are consolidated together by heat, as in the case of rubber compositions, it is only reasonable to expect there will be some molecular rearrangement going on in the mass; and this can be assigned as the reason why some proofings last as long again as others. Some metallic salts have a very injurious action on rubber, one of the worst being copper sulphate. Dyers are frequently warned that goods for rubber-proofing must be free from this metal, as its action on rubber is very powerful, though but little understood. As is generally known, grease in any form is exceedingly destructive to rubber, and it should never be allowed in contact in the smallest proportion. Some compositions are made up by dissolving rubber in turpentine and coal tar; but in this case some of the rubber’s most valuable properties are destroyed, and it is doubtful if it can be properly vulcanized. Owing to rubber being a bad conductor of heat, it requires considerable care to vulcanize it in any thickness. A high degree of heat applied during a short period would tend to form a layer of hard vulcanite on the surface, while that immediately below would be softer and would gradually merge into raw rubber in the center.

The different brands of rubber vary so much, especially with regard to solubility, that it is always advisable to treat each brand by itself, and not to make a solution of two or more kinds. Oilskins and tarpaulins, etc., are mostly proofed by boiled linseed oil, with or without thickening bodies added. They are not of sufficient interest to enlarge upon in this article, so the second, or “water-repellent,” class has now to be dealt with.

All the shower-proof fabrics come under this heading, as well as every cloth which is pervious to air and repulsive to water. The most time-honored recipe for proofing woollen goods is a mixture of sugar of lead and alum, and dates back hundreds of years. The system of using this is as follows: The two ingredients are dissolved separately, and the solutions mixed together. A mutual decomposition results, the base of the lead salt uniting with the sulphuric acid out of the alum to form lead sulphate, which precipitates to the bottom. The clear solution contains alumina in the form of acetate, and this supplies the proofing quality to the fabric. It is applied in a form of machine shown in Fig. 8, which will be seen to consist of a trough containing the proofing solution, C, with a pair of squeezing rollers, A, over the top. The fabric is drawn down through the solution and up through the squeezers in the direction of the arrows. At the {747} back of the machine the cloth automatically winds itself onto a roll, B, and then only requires drying to develop the water-resisting power. D is a weight acting on a lever which presses the two rollers, A, together. The water-repelling property is gained as follows:

Drying the fabric, which is impregnated with acetate of alumina, drives off some of the volatile acetic acid, leaving a film of basic acetate of alumina on each wool fiber. This basic salt is very difficult to wet, and has so little attraction for moisture that in a shower of rain the drops remain in a spheroidal state, and fall off. In a strong wind, or under pressure, water eventually penetrates through fabrics proofed in this manner; but they will effectually resist a sharp shower. Unfortunately, shower-proofed goods, with wear, gradually lose this property of repelling water. The equation representing the change between alum and sugar of lead is given below. In the case of common alum there would, of course, be potassium acetate in solution besides the alumina.

Alum.

Al2K2(SO4)4 +

Sugar of lead.

4 Pb(C2H3O2)2 =

Lead
sulphate.

4 PbSO4 +

Potassium
acetate.

2 KC2H3O2 +

Aluminum
acetate.

Al2(C2H3O2)6

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 many compositions conferring water resisting powers upon textiles, but unfortunately they either affect the general handle of the material and make it stiff, or they stain and discolor it, which is equally bad. A large 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 interior 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 decomposes the soap, resulting in a deposit of insoluble stearate of alumina. This system of proofing in two baths is cleaner 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 petroleum 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 quantity 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 permissible, 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 shows a machine used for spreading a coat of either proofing or any other fluid on one side of the fabric. {748} 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 proofing purposes, but owing to their stiffening 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 insoluble.

The following are special processes used to advantage in the manufacture of waterproof fabrics:

I.—Ordinary Fabrics, Dressing Apparel, etc.—Immerse in a vat of acetate of alumina (5° Bé.) for 12 hours, lift, dry, and let evaporate at a temperature of from 140° to 149° F.

II.—Sailcloth, Awnings, Thick Blankets, 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 ammoniacal cupric sulphate of 10° Bé. at a temperature of 87° F.; let steep thoroughly, then put in a bath of caustic soda (20° Bé.) and dry. To increase the impermeability, a bath of sulphate of alumina may be substituted for the caustic-soda bath.

IV.—Saturate the fabrics with the following 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 / 2 parts, by weight, of paraffine, 12 parts, by weight, of rosin soap, 35 parts, by weight, of starch, and 5 parts, by weight, of a 5 per cent solution of alum. Fabrics thus prepared 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° Bé. 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 per cent solution of alum, dry for 2 or 3 days on the dropping horse, and brush off all particles of soap.

VI.—Dissolve 1 / 2 parts, by weight, of gelatin in 50 parts, by weight, of boiling water, add 1 / 2 parts, by weight, of scraped tallow soap and 2 / 2 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 part, by weight, of tannin in 12 parts, by weight, of wood vinegar (pyroligneous acid) of 12° Bé. 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 compound 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° Bé. This compound is put on the fabric 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 / 2 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 / 2 part, by weight, of alum and heated to 86° to 104° F. After {749} having been left in the second bath for / 4 or / 2 hour, take out as before, put into the third bath of 40 to 50 parts, by weight, of water, / 2 part, by weight, of alum, and about 13 parts, by weight, of fish glue. In this cold bath the hats are left for another / 2 hour or more until they are completely saturated with the liquid, then dried and the other operations continued.

X.—Woolen cloth may be soaked in a vat filled with aluminum acetate, of 5° Bé., 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, jute, and hemp fabrics are first thoroughly saturated in a bath of ammonio-cupric sulphate, of 10° Bé., at a temperature of 77° F., then put into a solution of caustic soda, 2° Bé., 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° Bé., at a temperature of 102° F., the superfluous liquid being removed from the fabric by press rollers. 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 waterproof 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° Bé.

XVI.—Linen, hemp, jute, cotton, and other fabrics can be given a good odorless 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 follows: 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 solution. 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° Bé., to which 50 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 may be increased by stirring the prepared liquid with a fresh quantity of castor or other vegetable oil. The product is slightly 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 emulsion. 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 removed by water, preferably by cold water, and scouring of the goods subsequently with soap, soda, or fuller’s earth can thus be dispensed with.

XVIII.—Cloth may be rendered waterproof by rubbing the under side with a lump of beeswax until the surface presents a uniform white or grayish appearance. This method it is said renders the cloth {750} practically waterproof, although still leaving 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 immersing it in a solution of aluminum sulphate in water (1 in 10) and without allowing it to dry passing through a solution 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 removed 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, / 2 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 removed 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.—Tenning’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 saturation of the leather, requires about 48 hours. Instead of zinc sulphate, copper or iron sulphate may be used. The philosophy of the process is that the moisture 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 submitting the leather to treatment with a solution of caoutchouc until it is thoroughly saturated with the liquid. The latter consists of 30 parts of caoutchouc in 500 parts of oil of turpentine. Complete impregnation of the leather requires 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 applying 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 treatment 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 waterproofing 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 revolutionized 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 perfect state when the rubber-waterproofing business sprang up, so that improvements 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 difficult to better. Hence the three cardinal defects of the oilskin: its weight, its stiffness, and the liability of {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 consists 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 detail, is the whole method of making oilskins. Dr. Stenhouse’s waterproofing method is to impregnate the fabric with a mixture of hard paraffine and boiled oil in proportions varying according to circumstances from 95 per cent of paraffine and 5 of oil to 70 per cent of the former and 30 of the latter. The most usual percentages are 80 and 20. The mixture is made with the aid of heat, and is then cast into blocks for storage. It is applied 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 complete. The paraffine and the drying oil combine their waterproofing powers, and the paraffine prevents the oil from exerting 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 that the inflammability of oilskins may be much lessened by the use of the ordinary fireproofing salts, such as tungstate of soda, or alum, either before or after the waterproofing process is carried out.

The following are some of the best recommended recipes for making oilskins:

I.—Dissolve 1 ounce of yellow soap in 1 / 2 pints of boiling water. Then stir in 1 quart of boiled oil. When cold, add / 4 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 with 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 penetration 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 should not be damp when the composition 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 stickiness, 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 that 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 manufacture.

Waterproofing Paper.

—Any convenient and appropriate machinery or apparatus may be employed; but the best method for waterproofing paper is as follows: The treatment may be applied {752} 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 percentage 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 saturating 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, impregnation, and deposit of the glutinous material within all the microscopic interstices throughout the body of the paper being treated. By preference a suitable tank is provided in which the glutinous 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 permeation or incorporation of glutinous matter 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 mechanical 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 pressure 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 majority 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 material and having the surplus adhering to the surfaces removed, the paper before 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 formaldehyde (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 particular temperature is not essentially necessary. 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 formaldehyde 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 aldehydes, 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 solutions are giving off their watery constituents that it will not fully dissolve—it is, however, in a condition to be acted on by moisture, as it will swell and absorb, or take up permanently by either chemical or mechanical action a percentage 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 commercial 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 cellular structure. Two actions, mechanical and chemical, appear to take place, the mechanical action being the temporary absorption of water analogous to the absorption 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 preferred to pass the paper into a bath of hot water, saturated steam or equivalent heat-and-moisture medium, thus causing the fibers and the non-soluble glutinous material filling the interstices to expand in all directions and forcing {753} the glutinous material into all the microscopic 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 increased. To heighten the tempering and softening effect, glycerine may, in some instances, be introduced in the tempering bath, and in most cases one two-hundredths in volume of glycerine gives the best results.

The paper may be dried in any convenient manner and is in condition for most commercial uses, it being greatly strengthened, more flexible, more impervious to moisture, acids, grease, or alkalies, and is suitable for the manufacture 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 impracticable for some uses—for instance, wrapping 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, therefore, 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 (ammonium hydrate), the proportion by preference 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 serious extent with the results. The effect of this bath followed by drying is to complete the chemical reaction and destroy all taste or odor, removing all traces of acids and rendering the paper hygienic 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 between 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 materials being increased in strength from 100 to 700 per cent. It will be nonabsorbent to acids, greases, and alkalies, and substantially waterproof, and owing to its component integrate structure will be practically non-conductive to electricity, adapting it as a superior insulating 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 subjecting of the material (after treatment with glutinous material and formaldehyde 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 manufactured, 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, varying with different thicknesses and densities, and the length of time of exposure may be fixed without checking the speed by making the tank of such length that the requisite 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 addition of tallow gives greater pliability.

Waterproof Wood.

—I.—Soak in a mixture of boracic acid, 6 parts; ammonium 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 adulterated with the following among other substances: Rosins, pitch, flowers of sulphur, 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.

All earthy substances may be readily {754} separated from wax by means of oil of turpentine, which dissolves the wax, while the earthy matters form a residue.

Oil of turpentine also completely separates 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. Adulteration by means of starch and fecula is quite frequent. These substances are sometimes added to the wax in a proportion of nearly 60 per cent. To separate either, the suspected product is treated hot with very dilute sulphuric acid (2 parts of acid per 100 parts of water). All amylaceous substances, converted 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, yields 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 approximately the proportions stated: Paraffine, 45 parts, by weight; white Japan vegetable wax, 30 parts, by weight; rosins, or colophonies, 10 parts, by weight; white pitch, 10 parts, by weight; tallow, 5 parts, by weight; ceresine, colorant, 0.030 parts, by weight; wax perfume, 0.100 parts, by weight. If desired, the paraffine 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 following is the method of preparation: Melt on the boiling water bath, shaking constantly, the paraffine, 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 part

Melt the articles together over a gentle fire, and when completely melted and homogeneous, pour into a sizable earthenware 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 ornaments, 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 surface 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 original polish. Give the article a good coat of linseed oil or a washing with petroleum before beginning work.

II.—Articles that are always exposed to the water, floors, doors, especially of oak, should, from time to time, be {755} saturated 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 frequently treated to saturation with wax and oil. Here a plain dosage with linseed 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 composed 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 5 parts of yellow wax, 2 parts of crude potassium carbonate, and 12 parts of water, boiled together until they assume a milky color and the solids are dissolved, used cold, makes an excellent composition for floors. Any desired color may be given this dressing by stirring in the powdered coloring matter. Use it exactly as described 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 composition of the bronze is changed somewhat 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 according 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 1 3

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 turmeric.

II.— Japan wax 1 part

Yellow wax 3 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 5 parts

Dissolve the wax in the oil by aid of a low heat, on a water bath. Mix the remaining 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 thoroughly on the bath. When a homogeneous 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 tepid 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 formulas may be followed for making sealing 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, stirring 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 ductile, 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 pills.

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} two, three, or more colored kinds together while they are in a semi-fluid state. From the viscidity of the several portions their incorporation is left incomplete, 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 sealing-wax composition, an agreeable fragrance 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 sometimes 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 pigments and fillings with a suitable adhesive 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. Turpentine and rosin must be heated before entering the shellac. If this rule is inverted, 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 Venetian turpentine, 4 ounces shellac, 1 ounce rosin, 1 ounce Prussian blue, / 2 ounce magnesia.

Green Wax.

—Two ounces Venetian turpentine, 4 ounces shellac, 1 / 4 ounces rosin, / 2 ounce chrome yellow, / 4 ounce Prussian blue, 1 ounce magnesia.

Carmine Red Wax.

—One ounce Venetian turpentine, 4 ounces shellac, 1 ounce rosin, colophony, 1 / 4 ounces Chinese red, 1 drachm magnesia, with oil of turpentine.

Gold Wax.

—Four ounces Venetian turpentine, 8 ounces shellac, 14 sheets of genuine leaf gold, / 2 ounce bronze, / 2 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 bottom 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 into 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 require 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, DECOMPOSITION 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. {757}

II.— Copper chloride 1 part

Gelatin 10 parts

Water 100 parts

III.—This is a method of making old-fashioned weather glasses containing a liquid that clouds or solidifies under certain atmospheric conditions:

Camphor 2 / 2 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 northwest 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 substance remains entirely at bottom of tube and the liquid perfectly 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: Substance partly at top of tube, and of a leaflike form, liquid very heavy and in a fermenting state. These effects are noticeable 24 hours before the change sets in. In winter: Generally the substance lies higher in the tube. Snow or white frost: Substance very white and small stars in motion. Summer weather: The substance will lie quite low. The substance 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.

WEATHERPROOFING: See Paints.

WEED KILLERS: See Disinfectants.

Weights and Measures

International Atomic Weights.

The International Committee on Atomic Weights have presented this table as corrected:

O=16 H=1

Aluminum Al 27.1 26.9

Antimony Sb 120.2 119.3

Argon A 39.9 39.6

Arsenic As 75 74.4

Barium Ba 137.4 136.4

Bismuth Bi 208.5 206.9

Boron B 11 10.9

Bromine Br 79.96 79.36

Cadmium Cd 112.4 111.6

Cæsium Cs 132.9 131.9

Calcium Ca 40.1 39.7

Carbon C 12 11.91

Cerium Ce 140.25 139.2

Chlorine Cl 35.45 35.18

Chromium Cr 52.1 51.7

Cobalt Co 59 58.55

Columbium Cb 94 93.3

Copper Cu 63.6 63.1

Erbium Er 166 164.8

Fluorine F 19 18.9

Gadolinium Gd 156 154.8

Gallium Ga 70 69.5

Germanium Ge 72.5 72

Glucinum Gl 9.1 9.03

Gold Au 197.2 195.7

Helium He 4 4

Hydrogen H 1.008 1

Indium In 115 114.1

Iodine I 126.97 126.01

Iridium Ir 193 191.5

Iron Fe 55.9 55.5

Krypton Kr 81.8 81.2

Lanthanum La 138.9 137.9

Lead Pb 206.9 205.35

Lithium Li 7.03 6.98

Magnesium Mg 24.36 24.18

Manganese Mn 55 54.6

Mercury Hg 200 198.5

Molybdenum Mo 96 95.3

Neodymium Nd 143.6 142.5

Neon Ne 20 19.9

Nickel Ni 58.7 58.3

Nitrogen N 14.04 13.93

Osmium Os 191 189.6

Oxygen O 16 15.88

Palladium Pd 106.5 105.7

Phosphorus P 31 30.77

Platinum Pt 194.8 193.3

Potassium K 39.15 38.85

Praseodymium Pr 140.5 139.4

Radium Ra 225 223.3

Rhodium Rh 103 102.2

Rubidium Rb 85.5 84.9

Ruthenium Ru 101.7 100.9

Samarium Sm 150.3 149.2

Scandium Sc 44.1 43.8

Selenium Se 79.2 78.6

Silicon Si 28.4 28.2

Silver Ag 107.93 107.11

Sodium Na 23.05 22.88

Strontium Sr 87.6 86.94

Sulphur S 32.06 31.82

Tantalum Ta 183 181.6

Tellurium Te 127.6 126.6

Terbium Th 160 158.8

Thallium Tl 204.1 202.6

Thorium Th 232.5 230.8

Thulium Tm 171 169.7

Tin Sn 119 118.1

Titanium Ti 48.1 47.7

Tungsten W 184 182.6

Uranium U 238.5 236.7

Vanadium V 51.2 50.8

Xenon Xe 128 127

Ytterbium Yb 173 171.7

Yttrium Yt 89 88.3

Zinc Zn 65.4 64.9

Zirconium Zr 90.6 89.9

United States Weights And Measures

(According to existing standards)

Lineal

Inches. Feet. Yards. Rods. Fur’s. Mile.

12 inches = 1 foot. 12 = 1

3 feet = 1 yard. 36 = 3 = 1

5.5 yards = 1 rod. 198 = 16.5 = 5.5 = 1

40 rods = 1 furlong. 7,920 = 660 = 220 = 40 = 1

8 furlongs = 1 mile. 63,360 = 5,280 = 1,760 = 320 = 8 = 1

Surface—land

144 sq. inches = 1 square foot. Feet. Yards. Rods. Roods. Acres.

9 square feet = 1 square yard. 9 = 1

30.25 square yards = 1 square rod. 272.25 = 30.25 = 1

40 square rods = 1 square rood. 10,890 = 1,210 = 40 = 1

4 square roods = 1 acre. 43,560 = 4,840 = 160 = 4 = 1

640 acres = 1 square mile. 27,878,400 = 3,097,600 = 102,400 = 2,560 = 640

Volume—liquid

4 gills = 1 pint. Gills. Pints. Gallon. Cub. In.

2 pints = 1 quart. 32 = 8 = 1 = 231

4 quarts = 1 gallon.

Fluid Measure

Gallon. Pints. Ounces. Drachms. Minims. Cubic Centimeters.

1 = 8 = 128 = 1,024 = 61,440 = 3,785.435

1 = 16 = 128 = 7,680 = 473.179

1 = 8 = 480 = 29.574

1 = 60 = 3.697

16 ounces, or a pint, is sometimes called a fluidpound.

Troy Weight

Pound. Ounces. Pennyweights. Grains. Grams.

1 = 12 = 240 = 5,760 = 373.24

1 = 20 = 480 = 31.10

1 = 24 = 1.56

Apothecaries’ Weight

℔
Pound. ℥
Ounces. ʒ
Drachms. ℈
Scruples gr.
Grains.
Grams.

1 = 12 = 96 = 288 = 5,760 = 373.24

1 = 8 = 24 = 480 = 31.10

1 = 3 = 60 = 3.89

1 = 20 = 1.30

1 = .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 drachms = 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

27 / 32 grains = 1 drachm = 27 / 32 grains

16 drachms = 1 ounce = 437 / 2 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

12 ounces = 1 pound = 5,760 grains

NOTE.—An ounce of metallic silver contains 480 grains, but an ounce of nitrate of silver contains only 437 / 2 grains. {759}

Metric System Of Weights And Measures

Measures Of Length

DENOMINATIONS AND VALUES. EQUIVALENTS IN USE.

Myriameter 10,000 meters 6.2137 miles

Kilometer 1,000 meters .62137 miles, or 3,280 feet, 10 inches

Hectometer 100 meters 328 feet and 1 inch

Dekameter 10 meters 393.7 inches

Meter 1 meter 39.37 inches

Decimeter 1-10th of a meter 3.937 inches

Centimeter 1-100th of a meter .3937 inches

Millimeter 1-1,000th of a meter .0394 inches

Measures Of Surface

DENOMINATIONS AND VALUES. EQUIVALENTS IN USE.

Hectare 10,000 square meters 2.471 acres

Are 100 square meters 119.6 square yards

Centare 1 square meter 1,550 square inches

Measures Of Volume

DENOMINATIONS AND VALUES. EQUIVALENTS IN USE.

NAMES. NO. OF
LITERS. CUBIC
MEASURES. DRY
MEASURE. WINE
MEASURE.

Kiloliter
or stere 1,000 1 cubic meter 1.308 cubic yards 264.17 gallons

Hectoliter 100 1-10th cubic meter 2 bushels and 3.35 pecks 26.417 gallons

Dekaliter 10 10 cubic decimeters 9.08 quarts 2.6417 gallons

Liter 1 1 cubic decimeter .908 quarts 1.0567 quarts

Deciliter 1-10 1-10th cubic decimeter 6.1023 cubic inches .845 gills

Centiliter 1-100 10 cubic centimeters .6102 cubic inches .338 fluidounces

Milliliter 1-1,000 1 cubic centimeter .061 cubic inches .27 fluidrachms

Weights

DENOMINATIONS AND VALUES. EQUIVALENTS IN USE.

NAMES. NUMBER OF GRAMS. WEIGHT OF VOLUME OF WATER AT ITS MAXIMUM DENSITY. AVOIRDUPOIS WEIGHT.

Millier or Tonneau 1,000,000 1 cubic meter 2,204.6 pounds

Quintal 100,000 1 hectoliter 220.46 pounds

Myriagram 10,000 10 liters 22.046 pounds

Kilogram or Kilo 1,000 1 liter 2.2046 pounds

Hectogram 100 1 deciliter 3.5274 ounces

Dekagram 10 10 cubic centimeters .3527 ounces

Gram 1 1 cubic centimeter 15.432 grains

Decigram 1-10 1-10th of a cubic centimeter 1.5432 grains

Centigram 1-100 10 cubic millimeters .1543 grains

Milligram 1-1,000 1 cubic millimeter .0154 grains

For measuring surfaces, the square dekameter is used under the term of ARE; the hectare, or 100 ares, is equal to about 2 / 2 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 GRAM, 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 c.c., is generally used instead of milliliter, and cubic meter instead of kiloliter. {760}

The Conversion Of Metric Into English Weight

The following table, which contains no error greater than one-tenth of a grain, will suffice for most practical purposes:

1 gram = 15 / 5 grains
2 grams = 30 / 5 grains
3 grams = 46 / 5 grains
4 grams = 61 / 5 grains, or 1 drachm, 1 / 5 grains
5 grams = 77 / 5 grains, or 1 drachm, 17 / 5 grains
6 grams = 92 / 5 grains, or 1 drachm, 32 / 5 grains
7 grams = 108 grains, or 1 drachm, 48 grains
8 grams = 123 / 5 grains, or 2 drachms, 3 / 5 grains
9 grams = 138 / 5 grains, or 2 drachms, 18 / 5 grains
10 grams = 154 / 5 grains, or 2 drachms, 34 / 5 grains
11 grams = 169 / 5 grains, or 2 drachms, 49 / 5 grains
12 grams = 185 / 5 grains, or 3 drachms, 20 / 5 grains
13 grams = 200 / 5 grains, or 3 drachms, 20 / 5 grains
14 grams = 216 grains, or 3 drachms, 36 grains
15 grams = 231 / 5 grains, or 3 drachms, 51 / 5 grains
16 grams = 247 grains, or 4 drachms, 7 grains
17 grams = 262 / 5 grains, or 4 drachms, 22 / 5 grains
18 grams = 277 / 5 grains, or 4 drachms, 37 / 5 grains
19 grams = 293 / 5 grains, or 4 drachms, 53 / 5 grains
20 grams = 308 / 5 grains, or 5 drachms, 8 / 5 grains
30 grams = 463 grains, or 7 drachms, 43 grains
40 grams = 617 / 5 grains, or 10 drachms, 17 / 5 grains
50 grams = 771 / 5 grains, or 12 drachms, 51 / 5 grains
60 grams = 926 grains, or 15 drachms, 26 grains
70 grams = 1,080 / 5 grains, or 18 drachms, 0 / 5 grains
80 grams = 1,234 / 5 grains, or 20 drachms, 34 / 5 grains
90 grams = 1,389 grains, or 23 drachms, 9 grains
100 grams = 1,543 / 5 grains, or 25 drachms, 43 / 5 grains
1,000 grams = 1 kilogram = 32 ounces, 1 drachm, 12 / 5 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 minims
5 cubic centimeters = 85 minims, or 1 drachm, 25 minims
6 cubic centimeters = 101 minims, or 1 drachm, 41 minims
7 cubic centimeters = 118 minims, or 1 drachm, 58 minims
8 cubic centimeters = 135 minims, or 1 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, 0 drachm, 27 minims
40 cubic centimeters = 676 minims, or 1 ounce, 3 drachms, 16 minims
50 cubic centimeters = 845 minims, or 1 ounce, 6 drachms, 5 minims
60 cubic centimeters = 1,014 minims, or 2 ounces, 0 drachms, 54 minims
70 cubic centimeters = 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 / 8 pints.

{761}

Welding Powders.

Powder To Weld Wrought Iron At Pale-red Heat With Wrought Iron.

—I.—Borax, 1 part (by weight); sal ammoniac, / 2 part; water, / 2 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 parts to be welded, and after it has liquefied, a few blows are sufficient to unite the pieces.

II.—Borax, 2 parts; wrought-iron filings, free from rust, 2 parts; sal ammoniac, 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 application 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 has 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 1 / 2 per cent of bichromate of potash, previously 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 obtained 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 off with a large sponge. Stop all cracks with whiting and plaster of Paris. When dry, claricole with size and a little of the whitewash 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 about 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 chiefly composed of albumin, which, like casein or milk, is capable of transforming the lime into casein paint. But the ox blood must be mixed in the lime paint; to use it separately is useless, if not harmful. Whitewashing rough mortar-plastering 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 / 2 pound

Glue (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} the salt previously dissolved in warm water. Boil the rice flour in water; soak the glue in water and dissolve on a water bath, 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 Methods.

WHITE METAL: See Alloys.

WINDOW-CLEANING COMPOUND: See Cleaning Compounds.