Henley’s Book of Recipes (part 3)

—A mixture of edible fats of suitable consistency, e. g., oleo oil, 5 parts; neutral lard, 7 parts; and butter, 1 part; is mixed with albuminous “batter,” 4 parts, with the addition of 1 part of salt as a preservative. If the albuminous constituent be composed of the whites and yolks of eggs beaten to a foam the product will have the consistency and color of butter. The molten fats are added to the egg batter and the whole is stirred at a temperature sufficient to produce coagulation of the albumen (150–200° F.). The mass is then cooled gradually with continuous stirring, and the salt is worked in.

Olive-oil Paste.

—If an ounce of peeled garlic be rubbed up into a pulp, in a clean Wedgwood mortar, and to this be added from 3 to 4 ounces of good olive oil, with constant rubbing up with the pestle, the oil becomes converted into a pasty mass, like butter. It is possible that the mucilage obtainable from other bulbs of the Lilium tribe would prove equally efficient in conferring semi-solidity on the oil, without imparting any strong smell. The above composition is largely used by the Spanish peasantry, instead of butter, which runs liquid in the Spanish summer. It is known as “aleoli.” The more easily solidified portion of olive oil is stearine, and this may be cheaply prepared from mutton fat. If added, in certain proportions, to olive oil, it would certainly raise its melting point.

Buttermilk, Artificial.

Buttermilk powder, 10 parts; vinegar, 1 part; syrup of buckthorn, 1 part. Dissolve the powder in the water and add the vinegar and syrup. The powder is prepared as follows: Sodium chloride, 50 parts; milk sugar, 100 parts; potassium nitrate, 5 parts; alum, 5 parts. Mix.

BUTTER, ARTIFICIAL: TESTS FOR: See Foods.

BUTTER COLORANT: See Foods.

BUTTONS OF ARTIFICIAL AGATE: See Agate.

CADMIUM ALLOYS: See Alloys. {144}

Calcium Carbide:

Preservation And Use Of Calcium Carbide.

—Calcium carbide is readily attacked by the air and the moisture contained in the generators and consequently decomposes during the storing, with formation of acetylene gas. Aside from the loss, this decomposition is also attended with dangers. One of the oldest methods of preservation is the saturation of the carbide with petroleum. In using such carbide a layer of petroleum forms on the surface of the water in the generator, which prevents the water from evaporating, thus limiting the subsequent generation of acetylene from the remaining carbide. Instead of petroleum many other substances have been proposed which answer the purpose equally well, e. g., toluol, oils, solid bodies, which previously have to be liquefied, such as stearine, paraffine, rosin, etc.

Of a different nature is a medium offered by Létang of Paris. He employs sugar or saccharine bodies to which he adds, if necessary, a little petroleum, turpentine, vaseline, or varnish of any kind, as well as chalk, limestone, talc, sulphur, or sand. The carbide is coated with this mixture. The saccharine substances dissolve in the generating water, and also have a dissolving action on the slaked lime, which is formed by the decomposition of the carbide which admits of its easy removal.

According to another process carbide is put on the market in such a shape that, without weighing, merely by counting or measuring one is in a position to use equivalent quantities for every charge. Gearing casts molten carbide in the shape of bars, and pours a layer of gelatin, glue, and water soluble varnish over the carbide bars. Others make shells containing a certain quantity of reduced carbide. For this ordinary and varnished pasteboard, wax paper, tinfoil, thin sheet zinc, and similar substances may be used which ward off atmospheric moisture, thus protecting the carbide from premature decomposition. Before use, the cartridge-like shell is pierced or cut open, so that the water can get at the contents. The more or less reduced carbide is filled in the shell, either without any admixture or united into a compact mass by a binding agent, such as colophony, pitch, tar, sand, etc.

Deodorization Of Calcium Carbide.

—Calcium carbide is known to possess a very unpleasant odor because it constantly develops small quantities of impure acetylene in contact with the moisture of the air. Le Roy, of Rouen, proposes for portable—especially bicycle—lamps, in which the evil is more noticeable than in large plants, simply to pour some petroleum over the carbide and to pour off the remainder not absorbed. The petroleum, to which it is well to add some nitro-benzol (mirbane essence), prevents the access of air to the carbide, but permits a very satisfactory generation of gas on admission of water.

CALCIUM SULPHIDE (LUMINOUS): See Paints.

CALFSKIN: See Leather.

CAMERA RENOVATION: See Photography.

Camphor Preparations:

Fragrant Naphthalene Camphor.—

Naphthalene white, in scales 3,000 parts

Camphor 1,000 parts

Melt on the steam bath and add to the hot mass:

Coumarin 2 parts

Mirbane oil 10 parts

Cast in plates or compressed tablets. The preparation is employed as a moth preventive.

Powdered Camphor In Permanent Form.

—I.—Powder the camphor in the usual manner, with the addition of a little alcohol. When it is nearly reduced to the proper degree of fineness add a few drops of fluid petrolatum and immediately triturate again. In this manner a powder as fine as flour is obtained, which does not cake together. This powdered camphor may be used for all purposes except for solution in alcohol, as it will impart to the latter a faint opalescence, owing to the insolubility of the petrolatum.

II.—Take equal parts of strong ether and alcohol to reduce the camphor to powder. It is claimed for this method that it only takes one-half of the time required when alcohol alone is used, and that the camphor dries more quickly. Before sifting add 1 per cent of white vaseline and 5 per cent of sugar of milk. Triturate fairly dry, spread out in the air, say 15 minutes, then pass through a moderately fine wire sieve, using a stubby shaving brush to assist in working it through. {145}

Camphor Pomade—

Oil of bitter almonds 1 drachm

Oil of cloves 20 drops

Camphor 1 / 2 ounces

White wax 4 ounces

Lard, prepared 1 pound

Melt the wax and lard together, then add the camphor in saturated solution in spirit; put in the oils when nearly cold.

Camphor Ice.—

I.— White wax 16 parts

Benzoated suet 48 parts

Camphor, powdered 8 parts

Essential oil, to perfume.

Melt the wax and suet together. When nearly cold, add the camphor and perfume, mix well, and pour into molds.

II.— Oil of almond 16 parts

White wax 4 parts

Spermaceti 4 parts

Paraffine 8 parts

Camphor, powdered 1 part

Perfume, quantity sufficient.

Dissolve the camphor in the oil by the aid of a gentle heat. Melt the solids together, remove, and let cool, but before the mixture begins to set add the camphorated oil and the perfume, mix, and pour into molds.

III.— Stearine (stearic acid) 8 pounds

Lard 10 pounds

White wax 5 pounds

Spermaceti 5 pounds

Melt on a water bath in an earthen or porcelain dish; strain into a similar vessel; add a solution of 2 ounces powdered borax in 1 pound of glycerine, previously warmed, to the melted substance when at the point of cooling; stir well; add camphor, 2 pounds, powdered by means of alcohol, 3 ounces; stir well and pour into molds.

CAMPHOR SUBSTITUTES IN THE PREPARATION OF CELLULOID: See Celluloid.

CAMPHOR AND RHUBARB AS A REMEDY FOR CHOLERA: See Cholera Remedies.

CAN VARNISH: See Varnishes.

Canary-Bird Paste.

The following is a formula much used by German canary-bird raisers:

Sweet almonds, blanched 16 parts

Pea meal 32 parts

Butter, fresh (unsalted) 3 parts

Honey, quantity sufficient to make a stiff paste.

The ingredients are worked into a stiff paste, which is pressed through a colander or large sieve to granulate the mass. Some add to every 5 pounds, 10 or 15 grains of saffron and the yolks of 2 eggs.

CANARY BIRDS AND THEIR DISEASES: See Veterinary Formulas.

Candles:

Coloring Ceresine Candles for the Christmas Tree.

—For coloring these candles only dye stuffs soluble in oil can be employed. Blue: 23–24 lavender blue, pale or dark, 100–120 parts per 5,000 parts of ceresine. Violet: 26 fast violet R, 150 parts per 5,000 parts of ceresine. Silver gray: 29 silver gray, 150 parts per 5,000 parts of ceresine. Yellow and orange: 30 wax yellow, medium, 200 parts per 5,000 parts of ceresine; 61 old gold, 200 parts per 5,000 parts of ceresine. Pink and red: 27 peach-pink, or 29 chamois, about 100 parts per 5,000 parts of ceresine. Green: 16–17 brilliant green, 33 May green, 41 May green, 200–250 parts per 5,000 parts of ceresine. The above-named colors should be ground in oil and the ceresine tinted with them afterwards.

Manufacture Of Composite Paraffine Candles.

—Three parts of hydroxy-stearic acid are dissolved in 1 part of a suitable solvent (e. g., stearic acid), and the solution is mixed with paraffine wax to form a stock for the manufacture of composite candles.

Transparent Candles.

—The following are two recipes given in a German patent specification. The figures denote parts by weight:

I.—Paraffine wax, 70; stearine, 15; petroleum, 15.

II.—Paraffine wax, 90; stearine, 5; petroleum, 5. Recipe I of course gives candles more transparent than does recipe II. The 15 per cent may be regarded as the extreme limit consistent with proper solidity of the candles.

To Prevent The Trickling Of Burning Candles.

—Dip the candles in the following mixture:

Magnesium sulphate 15 parts

Dextrin 15 parts

Water 100 parts

The solution dries quickly and does not affect the burning of the candle. {146}

Candle Coloring.

—Candles are colored either throughout or they sometimes consist of a white body that is covered with a colored layer of paraffine wax. According to the material from which candles are made (stearine, paraffine, or ozokerite), the process of coloring varies.

Stearine, owing to its acid character, dissolves the coal-tar colors much more readily than do the perfectly neutral paraffine and ozokerite waxes. For coloring stearine the necessary quantity of the color is added to the melted mass and well stirred in; if the solution effected happens to be incomplete, a small addition of alcohol will prove an effective remedy. It is also an advantage to dissolve the colors previously in alcohol and add the concentrated solution to the melted stearine. The alcohol soon evaporates, and has no injurious effect on the quality of the stearine.

For a number of years there have been on the market so-called “fat colors,” formed by making concentrated solutions of the color, and also special preparations of the colors in stearine. They are more easily applied, and are, therefore, preferred to the powdered aniline colors, which are apt to cause trouble by being accidentally distributed in soluble particles, where they are not wanted. Since paraffine and ozokerite dissolve comparatively little, they will not become colored, and so must be colored indirectly. One way is to dissolve the color in oleic acid or in stearine acid and add the solution to the wax to be colored. Turpentine may be employed for the same purpose. Concerning the colors suitable for candles, there are the eosine colors previously mentioned, and also chroline yellow, auramine, taniline blue, tartrazine, brilliant green, etc. The latter, however, bleaches so rapidly that it can hardly be recommended. An interesting phenomenon is the change some colors undergo in a warm temperature; for instance, some blues turn red at a moderate degree of heat (120° F.) and return to blue only when completely cooled off; this will be noticed while the candle mixture is being melted previous to molding into candles.

CANDLES (FUMIGATING): See Fumigants.

CANDY COLORS AND FLAVORS: See Confectionery.

CANDY: See Confectionery.

CANVAS WATERPROOFING: See Waterproofing.

CAOUTCHOUC: See Rubber.

CAOUTCHOUC SOLUTION FOR PAINTS: See Paint.

CAPPING MIXTURES FOR BOTTLES: See Bottle-Capping Mixtures.

CAPSULE VARNISH: See Varnishes.

Caramel:

Cloudless Caramel Coloring.

—I.—When it is perfectly understood that in the manufacture of caramel, sugar is to be deprived of the one molecule of its water of constitution, it will be apparent that heat must not be carried on to the point of carbonization. Cloudy caramel is due to the fact that part of the sugar has been dissociated and reduced to carbon, which is insoluble in water. Hence the cloudiness. Caramel may be made on a small scale in the following manner: Place 4 or 5 ounces of granulated sugar in a shallow porcelain-lined evaporating dish and apply either a direct heat or that of an oil bath, continuing the heat until caramelization takes place or until tumescence ceases and the mass has assumed a dark-brown color. Then carefully add sufficient water to bring the viscid mass to the consistence of a heavy syrup. Extreme care must be taken and the face and hands protected during the addition of the water, owing to the intensity of the heat of the mass, and consequent sputtering.

II.—The ordinary sugar coloring material is made from sugar or glucose by heating it, while being constantly stirred, up to a temperature of about 405° F. A metal pan capable of holding nearly ten times as much as the sugar used, is necessary so as to retain the mass in its swollen condition. As soon as it froths up so as nearly to fill the pan, an action which occurs suddenly, the fire must instantly be extinguished or removed. The finished product will be insoluble if more than about 15 per cent of its weight is driven off by the heat.

CARAMEL IN FOOD: See Food.

CARAMELS: See Confectionery. {147}

Carbolic Acid.

Perfumed Carbolic Acid.—

I.— Carbolic acid (cryst.) 1 ounce

Alcohol 1 ounce

Oil bergamot 10 minims

Oil eucalyptus 10 minims

Oil citronella 3 minims

Tincture cudbear 10 minims

Water, to make 10 ounces

Set aside for several days, and then filter through fuller’s earth.

II.— Carbolic acid (cryst.) 4 drachms

Cologne water 4 drachms

Dilute acetic acid 9 ounces

Keep in a cool place for a few days, and filter.

Treatment Of Carbolic-acid Burns.

—Thoroughly wash the hands with alcohol, and the burning and tingling will almost immediately cease. Unless employed immediately, however, the alcohol has no effect. When the time elapsed since the burning is too great for alcohol to be of value, brush the burns with a saturated solution of picric acid in water.

Decolorization Of Carbolic Acid.

—To decolorize the acid the following simple method is recommended. For purifying carbolic acid which has already become quite brown-red on account of having been kept in a tin vessel, the receptacle is exposed for a short time to a temperature of 25° C. (77° F.), thus causing only a part of the contents to melt. In this state the acid is put into glass funnels and left to stand for 10 to 12 days in a room which is likewise kept at the above temperature. Clear white crystals form from the drippings, which remained unchanged, protected from air and light, while by repeating the same process more clear crystals are obtained from the solidified dark colored mother lye. In this manner 75 to 80 per cent of clear product is obtained altogether.

Disguising Odor Of Carbolic Acid.

—Any stronger smelling substance will disguise the odor of carbolic acid, to an extent at least, but it is a difficult odor to disguise on account of its persistence. Camphor and some of the volatile oils, such as peppermint, cajeput, caraway, clove, and wintergreen may be used.

To Restore Reddened Carbolic Acid.

—Demont’s method consists in melting the acid on the water bath, adding 12 per cent of alcohol of 95 per cent, letting cool down and, after the greater part of the substance has crystallized out, decanting the liquid residue. The crystals obtained in this manner are snowy white, and on being melted yield a nearly colorless liquid. The alcohol may be recovered by redistillation at a low temperature. This is a rather costly procedure.

CARBOLIC SOAP: See Soap.

Carbolineum:

See also Paints and Wood.

Preparation Of Carbolineum.

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

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

CARBON PRINTING: See Photography.

CARBON PROCESS IN PHOTOGRAPHY: See Photography.

CARBONYLE: See Wood.

CARBUNCLE REMEDIES: See Boil Remedy.

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

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

CARDBOARD, WATERPROOFING: See Waterproofing.

CARMINATIVES: See Pain Killers.

CARPET PRESERVATION: See Household Formulas.

CARPET SOAP: See Soap. {148}

CARRIAGE-TOP DRESSING: See Leather.

CARRON OIL: See Cosmetics.

CASE HARDENING: See Steel.

Casein

Dried Casein, Its Manufacture And Uses.

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

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

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

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

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

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

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

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

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

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

Phosphate Of Casein And Its Production.

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

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

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

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

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

CASEIN CEMENTS: See Adhesives.

CASEIN VARNISH: See Varnishes.

Casks:

To Render Shrunken Wooden Casks Watertight.

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

CASSIUS, PURPLE OF: See Gold.

CASKET TRIMMINGS: See Castings.

CASTS (PLASTER), PRESERVATION OF: See Plaster.

CASTS, REPAIRING OF BROKEN: See Adhesives and Lutes.

CASTS FROM WAX MODELS: See Modeling.

Casting

Castings Out Of Various Metals.

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

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

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

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

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

To Prevent The Adhesion Of Modeling Sand To Castings.

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

Sand Holes In Cast-brass Work.

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

Black Wash For Casting Molds.

—Gumlac, 1 part; wood spirit, 2 parts; lampblack, in sufficient quantity to color.

How To Make A Plaster Cast Of A Coin Or Medal.

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

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

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

How To Make Castings Of Insects.

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

Casting Of Soft Metal Castings.

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

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

Drosses.

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

Fuel.

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

Molds.

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

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

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

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

Plaster Molds.

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

Temperature Of Metal.

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

CASTING IN WAX: See Modeling.

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

Castor Oil:

Purifying Rancid Castor Oil.

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

How To Pour Out Castor Oil.

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

Tasteless Castor Oil.—

I.— Pure castor oil 1 pint

Cologne spirit 3 fluidounces

Oil of wintergreen 40 minims

Oil of sassafras 20 minims

Oil of anise 15 minims

Saccharine 5 grains

Hot water, a sufficient quantity.

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

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

Refined saccharine 25 parts

Vanillin 5 parts

Absolute alcohol 950 parts

Oil of cinnamon 20 parts

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

III.— Vanillin 3 grains

Garantose 4 grains

Ol. menth. pip. 8 minims

Alcoholis 3 drachms

Ol. ricinus 12 ounces

Ol. olivæ (imported), quantity sufficient 1 pint

M. ft. sol.

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

Dose: One drachm to 2 fluidounces.

IV.—The following keeps well:

Castor oil 24 parts

Glycerine 24 parts

Tincture of orange peel 8 parts

Tincture of senega 2 parts

Cinnamon water enough to make 100 parts

Mix and make an emulsion. Dose is 1 ta­ble­spoon­ful.

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

VI.— Castor oil 1 / 2 ounces

Powdered acacia 2 drachms

Sugar 2 drachms

Peppermint water 4 ounces

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

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

Castor oil 500 c.c.

Mucilage of acacia 125 c.c.

Spirit of gaultheria 10 grams

Sugar 1 gram

Sodium bicarbonate 1 gram

VIII.— Castor oil 1 ounce

Compound tincture of cardamom 4 drachms

Oil of wintergreen 3 drops

Powdered acacia 3 drachms

Sugar 2 drachms

Cinnamon water enough to make 4 ounces.

IX.— Castor oil 12 ounces

Vanillin 3 grains

Saccharine 4 grains

Oil of peppermint 8 minims

Alcohol 3 drachms

Olive oil enough to make 1 pint.

In any case, use only a fresh oil.

How To Take Castor Oil.

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

Castor-oil Chocolate Lozenges.—

Cacao, free from oil 250 parts

Castor oil 250 parts

Sugar, pulverized 500 parts

Vanillin sugar 5 parts

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

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

Catatypy.

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

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

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

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

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

CATERPILLAR DESTROYERS: See Insecticides.

Catgut:

Preparation Of Catgut Sutures.

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

CATSUP (ADULTERATED): See Foods.

CATTLE DIPS AND APPLICATIONS: See Disinfectants and Insecticides.

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

Celery Compound.

Celery (seed ground) 25 parts

Coca leaves (ground) 25 parts

Black haw (ground) 25 parts

Hyoscyamus leaves (ground) 12 / 2 parts

Podophyllum (powdered) 10 parts

Orange peel (ground) 6 parts

Sugar (granulated) 100 parts

Alcohol 150 parts

Water, q. s. ad. 400 parts

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

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

CELLARS, WATERPROOF: See Household Formulas.

CELLOIDIN PAPER: See Paper.

Celluloid

New Celluloid.

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

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

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

Formol Albumen For Preparation Of Celluloid.

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

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

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

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

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

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

Plastic Substances Of Nitro-cellulose Base.

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

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

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

Improved Celluloid.

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

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

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

Preparation Of Uninflammable Celluloid.

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

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

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

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

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

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

Substitute For Camphor In The Preparation Of Celluloid And Applicable To Other Purposes.

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

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

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

Plastic And Elastic Composition.

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

Production Of Substances Resembling Celluloid.

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

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

Elastic Substitute For Celluloid.

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

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

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

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

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

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

See also Casein for Celluloid Substitutes.

Celluloid Of Reduced Inflammability.

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

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

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

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

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

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

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

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

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

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

Solvents For Celluloid.

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

I.— Celluloid 5 parts

Amyl acetate 10 parts

Acetone 16 parts

Sulphuric ether 16 parts

II.— Celluloid 10 parts

Sulphuric ether 30 parts

Acetone 30 parts

Amyl acetate 30 parts

Camphor 3 parts

III.— Celluloid 5 parts

Alcohol 50 parts

Camphor 5 parts

IV.— Celluloid 5 parts

Amyl acetate 50 parts

V.— Celluloid 5 parts

Amyl acetate 25 parts

Acetone 25 parts

Softening And Cementing Celluloid.

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

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

Mending Celluloid.

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

See also Adhesives for Methods of Mending Celluloid.

Printing On Celluloid.

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

Colored Celluloid.—

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

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

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

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

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

Green: Dip into a solution of verdigris.

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

Bleaching Celluloid.

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

Process Of Impregnating Fabrics With Celluloid.

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

CELLULOID CEMENTS AND GLUES: See Adhesives.

CELLULOID LACQUER: See Lacquer.

CELLULOID PUTTY: See Cements.

Cements

(See also Putties.)

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

Putty For Celluloid.

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

Plumbers’ Cement.

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

Cement For Steam And Water Pipes.

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

Gutter Cement.

—Stir sand and fine lime into boiled paint skins while hot and thick. Use hot.

Cement For Pipe Joints.

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

Protection For Cement Work.

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

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

Puncture Cement.

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

To Fix Iron In Stone.

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

White Portland Cement.

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

Cement For Closing Cracks In Stoves.

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

Cement For Waterpipe.

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

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

Cement For Pallet Stones.

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

Dental Cements:

Fairthorne’s Cement.

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

Huebner’s Cement.

—Zinc oxide, 500.0 parts; powdered manganese, 1.5 parts; yellow ocher, powdered, 1.5–4.0 parts; powdered borax, 10.0 parts; powdered glass, 100.0 parts.

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

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

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

Phosphate Cement.

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

Zinc Amalgam, Or Dentists’ Zinc.

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

Sorel’s Cement.

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

Metallic Cement.

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

CEMENT COLORS: See Stone.

CEMENT, MORDANT FOR: See Mordants.

CEMENT, PAINTS FOR: See Paint.

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

CHAIN OF FIRE: See Pyrotechnics.

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

Chalk for Tailors.

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

CHAPPED HANDS: See Cosmetics.

CHARTA SINAPIS: See Mustard Paper.

CHARTREUSE: See Wines and Liquors.

Ceramics

GROUND CERAMICS—LAYING OIL FOR: See Oil.

Notes For Potters, Glass-, And Brick-makers.

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

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

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

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

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

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

Mix together:

Ball clay 10 parts

Cornwall stone 10 parts

China clay 7 parts

Flint 6 / 2 parts

To be mixed and lawned one week before use.

To Cut Pottery.

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

Brick and Tilemakers’ Glazed Bricks:

White.

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

No. 1 Slip.—

Same clay as brick 9 parts

Flint 1 part

Ball clay 5 parts

China 4 parts

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

White Body.—

China clay 24 parts

Ball clay 8 parts

Feldspar 8 parts

Flint 4 parts

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

Hard Glaze.—

Feldspar 18 parts

Cornwall stone 3 / 2 parts

Whiting 1 / 2 parts

Oxide of zinc 1 / 2 parts

Plaster of Paris / 4 part

{165}

Soft Glaze.—

White lead 13 parts

Feldspar 20 parts

Oxide of zinc 3 parts

Plaster of Paris 1 part

Flint glass 13 parts

Cornwall stone 3 / 2 parts

Paris white 1 / 4 parts

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

Process For Colored Glazes.

—Use color, 1 part, to white body, 7 parts. Use color, 1 part, to glaze, 9 parts.

Preparation Of Colors.

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

Turquoise.—

Oxide of zinc 8 parts

Oxide of cobalt 1 / 4 parts

Grass Green.—

Oxide of chrome 6 parts

Flint 1 part

Oxide of copper / 2 part

Royal Blue.—

Pure alumina 20 parts

Oxide of zinc 8 parts

Oxide of cobalt 4 parts

Mazarine Blue.—

Oxide of cobalt 10 parts

Paris white 9 parts

Sulphate barytes 1 part

Red Brown.—

Oxide of zinc 40 parts

Crocus of martis 6 parts

Oxide of chrome 6 parts

Red lead 5 parts

Boracic acid 5 parts

Red oxide of iron 1 part

Orange.—

Pure alumina 5 parts

Oxide of zinc 2 parts

Bichromate of potash 1 part

Iron scale / 2 part

Claret Brown.—

Bichromate of potash 2 parts

Flint 2 parts

Oxide of zinc 1 part

Iron scale 1 part

Blue Green.—

Oxide of chrome 6 parts

Flint 2 parts

Oxide of cobalt / 4 part

Sky Blue.—

Flint 9 parts

Oxide of zinc 13 parts

Cobalt 2 / 2 parts

Phosphate soda 1 part

Chrome Green.—

Oxide of chrome 3 parts

Oxide of copper 1 part

Carbonate of cobalt 1 part

Oxide of cobalt 2 parts

Olive.—

Oxide of chrome 3 parts

Oxide of zinc 2 parts

Flint 5 parts

Oxide of cobalt 1 part

Blood Red.—

Oxide of zinc 30 parts

Crocus martis 7 parts

Oxide of chrome 7 parts

Litharge 5 parts

Borax 5 parts

Red oxide of iron 2 parts

Black.—

Chromate of iron 24 parts

Oxide of nickel 2 parts

Oxide of tin 2 parts

Oxide of cobalt 5 parts

Imperial Blue.—

Oxide of cobalt 10 parts

Black color 1 / 2 parts

Paris white 7 / 2 parts

Flint 2 / 2 parts

Carbonate of soda 1 part

Mahogany.—

Chromate of iron 30 parts

Oxide of manganese 20 parts

Oxide of zinc 12 parts

Oxide of tin 4 parts

Crocus martis 2 parts

Gordon Green.—

Oxide of chrome 12 parts

Paris white 8 parts

Bichromate of potash 4 / 2 parts

Oxide of cobalt / 4 part

Violet.—

Oxide of cobalt 2 / 2 parts

Oxide of manganese 4 parts

Oxide of zinc 8 parts

Cornwall stone 8 parts

Lavender.—

Calcined oxide of zinc 5 parts

Carbonate of cobalt / 4 part

Oxide of nickel / 4 part

Paris white 1 part

Brown.—

Manganese 4 parts

Oxide of chrome 2 parts

Oxide of zinc 4 parts

Sulphate barytes 2 parts

Dove.—

Oxide of nickel 7 parts

Oxide of cobalt 2 parts

Oxide of chrome 1 part

Oxide of flint 18 parts

Paris white 3 parts

Yellow Green.—

Flint 6 parts

Paris white 4 parts

Bichromate of potash 4 / 2 parts

Red lead 2 parts

Fluorspar 2 parts

Plaster of Paris 1 / 2 parts

Oxide of copper / 2 part

Bodies Requiring No Stain:

Ivory.—

Cane marl 16 parts

Ball clay 12 parts

Feldspar 8 parts

China clay 6 parts

Flint 4 parts

Cream.—

Ball clay 22 parts

China clay 5 / 2 parts

Flint 5 parts

Feldspar 3 / 2 parts

Cane marl 12 parts

Black.—

Ball clay 120 parts

Ground ocher 120 parts

Ground manganese 35 parts

Buff.—

Ball clay 12 parts

China clay 10 parts

Feldspar 8 parts

Bull fire clay 16 parts

Yellow ocher 3 parts

Drab.—

Cane marl 30 parts

Ball clay 10 parts

Stone 7 parts

Feldspar 4 parts

Brown.—

Red marl 50 parts

China clay 7 parts

Ground manganese 6 parts

Feldspar 3 parts

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

Mazarine blue 1 part

Glaze 7 parts

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

Blood-red Stain.

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

Stain.—

Crocus martis 20 parts

Yellow ocher 4 parts

Sulphate of iron 10 parts

Red oxide of iron 2 parts

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

The process is to mix:

Blood-red stain 1 part

Good red clay 6 parts

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

Blue Paviors.

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

Stain For Blue Paviors.—

Ground ironstone 20 parts

Chromate of iron 5 parts

Manganese 6 parts

Oxide of nickel 1 part

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

Fire blue paviors very hard.

Buff Terra-cotta Slip.—

Buff fire clay 16 parts

China clay 6 parts

Yellow ocher 3 parts

Ball clay 10 parts

Flint 4 parts

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

Transparent Glaze.—

Ground flint glass 4 parts

Ground white lead 4 parts

Ground oxide of zinc / 4 part

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

Special Recipes For Pottery And Brick and Tile Works:

Vitrifiable Bodies.

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

I.— Cornwall stone 20 parts

Feldspar 12 parts

China clay 3 parts

Whiting 2 parts

Plaster of Paris 1 / 2 parts

II.— Feldspar 30 parts

Flint 9 parts

Stone 8 parts

China clay 3 parts

III.— Feldspar 20 parts

Stone 5 parts

Oxide of zinc 3 parts

Whiting 2 parts

Plaster of Paris 1 part

Soda crystals, dissolved 1 part

Special Glazes For Bricks Or Pottery At One Burning.

—To run these glazes intense heat is required.

I.— Cornwall stone 40 parts

Flint 7 parts

Paris white 4 parts

Ball clay 15 parts

Oxide of zinc 6 parts

White lead 15 parts

II.— Feldspar 20 parts

Cornwall stone 5 parts

Oxide of zinc 3 parts

Flint 3 parts

Lynn sand 1 / 2 parts

Sulphate barytes 1 / 2 parts

III.— Feldspar 25 parts

Cornwall stone 6 parts

Oxide of zinc 2 parts

China clay 2 parts

IV.— Cornwall stone 118 parts

Feldspar 40 parts

Paris white 28 parts

Flint 4 parts

V.— Feldspar 16 parts

China clay 4 parts

Stone 4 parts

Oxide of zinc 2 parts

Plaster of Paris 1 part

VI.— Feldspar 10 parts

Stone 5 parts

Flint 2 parts

Plaster ․ / 2 part

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

White.—

White lead 20 parts

Stone 9 parts

Flint 9 parts

Borax 4 parts

Oxide of zinc 2 parts

Feldspar 3 parts

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

Pottery Bodies And Glazes:

Ordinary.—

I.— China clay 2 / 2 parts

Stone 1 / 2 parts

Bone 3 parts

II.— China clay 5 parts

Stone 2 / 2 parts

Bone 7 parts

Barytes 3 parts

III.— Chain clay 5 parts

Stone 3 parts

Flint / 4 part

Barytes 8 parts

Superior.—

I.— China clay 35 parts

Cornwall stone 23 parts

Bone 40 parts

Flint 2 parts

II.— China clay 35 parts

Cornwall stone 8 parts

Bone 50 parts

Flint 3 parts

Blue clay 4 parts

III.— China clay 8 parts

Cornwall stone 40 parts

Bone 29 parts

Flint 5 parts

Blue clay 18 parts

IV.— China clay 32 parts

Cornwall stone 23 parts

Bone 34 parts

Flint 6 parts

Blue clay 5 parts

V.— China clay 7 parts

Stone 40 parts

Bone 28 parts

Flint 5 parts

Blue clay 20 parts

Finest China Bodies.—

I.— China clay 20 parts

Bone 60 parts

Feldspar 20 parts

II.— China clay 30 parts

Bone 40 parts

Feldspar 30 parts

III.— China clay 25 parts

Stone 10 parts

Bone 45 parts

Feldspar 20 parts

IV.— China clay 30 parts

Stone 15 parts

Bone 35 parts

Feldspar 20 parts

Earthenware Bodies.—

I.— Ball clay 13 parts

China clay 9 / 2 parts

Flint 5 / 2 parts

Cornwall stone 4 parts

II.— Ball clay 12 / 2 parts

China clay 8 parts

Flint 5 / 2 parts

Cornwall stone 2 / 2 parts

One pint of cobalt stain to 1 ton of glaze.

III.— Ball clay 13 / 4 parts

China clay 11 parts

Flint 4 parts

Cornwall stone 5 parts

Feldspar 4 parts

Stain as required.

IV.— Ball clay 18 / 2 parts

China clay 13 / 2 parts

Flint 8 / 2 parts

Stone 4 parts

Blue stain, 2 pints to ton.

V.— Ball clay 15 parts

China clay 12 parts

Flint 6 parts

Stone 4 parts

Feldspar 4 parts

Blue stain, 2 pints to ton.

VI. (Parian).—

Stone 11 parts

Feldspar 10 parts

China clay 8 parts

Colored Bodies:

Ivory Body.—

Ball clay 22 parts

China 5 / 2 parts

Flint 5 parts

Stone 3 / 2 parts

Dark Drab Body.—

Cane marl 30 parts

Ball clay 10 parts

Cornwall stone 7 parts

Feldspar 4 parts

Black Body.—

Ball clay 120 parts

Ocher 120 parts

Manganese 35 parts

Cobalt carbonate 2 parts

Grind the three last mentioned ingredients first.

Caledonia Body.—

Yellow clay 32 parts

China clay 10 parts

Flint 4 parts

Brown Body.—

Red clay 50 parts

Common clay 7 / 2 parts

Manganese 1 part

Flint 1 part

Jasper Body.—

Cawk clay 10 parts

Blue clay 10 parts

Bone 5 parts

Flint 2 parts

Cobalt / 4 part

Stone Body.—

Stone 48 parts

Blue clay 25 parts

China clay 24 parts

Cobalt 10 parts

Egyptian Black.—

Blue clay 235 parts

Calcined ocher 225 parts

Manganese 45 parts

China clay 15 parts

Ironstone Body.—

Stone 200 parts

Cornwall clay 150 parts

Blue clay 200 parts

Flint 100 parts

Calx 1 part

Cream Body.—

Blue clay 1 / 2 parts

Brown clay 1 / 2 parts

Black clay 1 part

Cornish clay 1 part

Common ball clay / 4 part

Buff color / 4 part

Light Drab.—

Cane marl 30 parts

Ball clay 24 parts

Feldspar 7 parts

Sage Body.—

Cane marl 15 parts

Ball clay 15 parts

China clay 5 parts

Stained with turquoise stain.

Colored Glazes For Pottery:

Blue.—

White glaze 100 parts

Oxide of cobalt 3 parts

Red lead 10 parts

Flowing blue 3 parts

Enamel blue 3 parts

Grind.

Pink.—

White glaze 100 parts

Red lead 8 parts

Marone pink U. G. 8 parts

Enamel red 3 parts

Grind.

Buff.—

White glaze 100 parts

Red lead 10 parts

Buff color 8 parts

Grind.

Ivory.—

White glaze 100 parts

Red lead 8 parts

Enamel amber 8 parts

Yellow underglaze 2 parts

Grind.

Turquoise.—

White glaze 100 parts

Red lead 10 parts

Carbonate of soda 5 parts

Enamel blue 4 parts

Malachite, 110 4 parts

Grind.

Yellow.—

I.— White glaze 100 parts

Red lead 10 parts

Oxide of uranium 8 parts

Grind.

II.— Dried flint 5 parts

Cornwall stone 15 parts

Litharge 50 parts

Yellow underglaze 4 parts

Grind.

Green.—

I.— Oxide of copper 8 parts

Flint of glass 3 parts

Flint 1 part

Red lead 6 parts

Grind, then take:

Of above 1 part

White glaze 6 parts

Or stronger as required.

II.— Red lead 60 parts

Stone 24 parts

Flint 12 parts

Flint glass 12 parts

China clay 3 parts

Calcined oxide of copper 14 parts

Oxide of cobalt / 4 part

Grind only.

Green Glaze, Best.—

III.— Stone 80 parts

Flint 8 parts

Soda crystals 4 parts

Borax 3 / 2 parts

Niter 2 parts

Whiting 2 parts

Oxide of cobalt / 4 part

Glost fire, then take:

Above frit 60 parts

Red lead 57 parts

Calcined oxide of copper 5 / 4 parts

Black.—

Red lead 24 parts

Raddle 4 parts

Manganese 4 parts

Flint 2 parts

Oxide of cobalt 2 parts

Carbonate of cobalt 2 parts

Glost fire.

White Glazes:

China.

—Frit:

I.— Stone 6 parts

Niter 2 parts

Borax 12 parts

Flint 4 parts

Pearl ash 2 parts

To mill:

Frit 24 parts

Stone 15 / 2 parts

Flint 6 / 2 parts

White lead 31 parts

II.—Frit:

Stone 24 parts

Borax 53 parts

Lynn sand 40 parts

Feldspar 32 parts

Paris white 16 parts

To mill:

Frit 90 parts

Stone 30 parts

White lead 90 parts

Flint 4 parts

Glass 2 parts

III.—Frit:

Stone 50 parts

Borax 40 parts

Flint 30 parts

Flint glass 30 parts

Pearl barytes 10 parts

To mill:

Frit 160 parts

Red lead 30 parts

Enamel blue / 2 part

Flint glass 2 parts

IV.—Frit:

Borax 100 parts

China clay 55 parts

Whiting 60 parts

Feldspar 75 parts

To mill:

Frit 200 parts

China clay 16 parts

White clay 3 / 2 parts

Stone 3 parts

Flint 2 parts

V.—Frit:

Stone 40 parts

Flint 25 parts

Niter 10 parts

Borax 20 parts

White lead 10 parts

Flint glass 40 parts

To mill:

Frit 145 parts

Stone 56 parts

Borax 16 parts

Flint 15 parts

Red lead 60 parts

Flint glass 8 parts

Earthenware.

—Frit:

I.— Flint 108 parts

China clay 45 parts

Paris white 60 parts

Borax 80 parts

Soda crystals 30 parts

To mill:

Frit 270 parts

Flint 20 parts

Paris white 15 parts

Stone 80 parts

White lead 65 parts

II.—Frit:

Flint 62 parts

China clay 30 parts

Paris white 38 parts

Boracic acid 48 parts

Soda crystals 26 parts

To mill:

Frit 230 parts

Stone 160 parts

Flint 60 parts

Lead 120 parts

III.—Frit:

Stone 56 parts

Paris white 55 parts

Flint 60 parts

China clay 20 parts

Borax 120 parts

Soda crystals 15 parts

To mill:

Frit 212 parts

Stone 130 parts

Flint 50 parts

Lead 110 parts

Stain as required.

IV.—Frit:

Stone 100 parts

Flint 44 parts

Paris white 46 parts

Borax 70 parts

Niter 10 parts

To mill:

Frit 200 parts

Stone 60 parts

Lead 80 parts

Pearl White Glaze.

—Frit:

Flint 50 parts

Stone 100 parts

Paris white 20 parts

Borax 60 parts

Soda crystals 20 parts

To mill:

Frit 178 pounds

Lead 55 pounds

Stain 3 ounces

Opaque Glaze.

—Frit:

Borax 74 parts

Stone 94 parts

Flint 30 parts

China clay 22 parts

Pearl ash 5 / 2 parts

To mill:

Frit 175 parts

Lead 46 parts

Flint 10 parts

Oxide of tin 12 parts

Flint glass 12 parts

Glaze For Granite.

—Frit:

I.— Stone 100 parts

Flint 80 parts

China clay 30 parts

Paris white 30 parts

Feldspar 40 parts

Soda crystals 40 parts

Borax 80 parts

To mill:

Frit 360 parts

Flint 50 parts

Stone 50 parts

Lead 80 parts

II.—Frit:

Borax 100 parts

Stone 50 parts

Flint 50 parts

Paris white 40 parts

China clay 20 parts

To mill:

Frit 210 parts

Stone 104 parts

Flint 64 parts

Lead 95 parts

Raw Glazes.

—White:

I.— White lead 160 parts

Borax 32 parts

Stone 48 parts

Flint 52 parts

Stain with blue and grind.

II.— White lead 80 parts

Litharge 60 parts

Boracic acid 40 parts

Stone 45 parts

Flint 50 parts

Treat as foregoing.

III.— White lead 100 parts

Borax 4 parts

Flint 11 parts

Cornwall stone 50 parts

IV.— Red lead 80 parts

Litharge 60 parts

Tincal 40 parts

Stone 40 parts

Flint 52 parts

Rockingham Glazes.

I.— Litharge 50 parts

Stone 7 / 2 parts

Red marl 3 parts

Oxide of manganese 5 parts

Red oxide of iron 1 part

II.— White lead 30 parts

Stone 3 parts

Flint 9 parts

Red marl 3 parts

Manganese 5 parts

III.— Red lead 20 parts

Stone 3 parts

Flint 2 parts

China clay 2 parts

Manganese 3 parts

Red oxide of iron 1 part

Stoneware Bodies.—

Ball clay 14 parts

China clay 10 parts

Stone 8 parts

Ball clay 8 parts

China clay 5 parts

Flint 3 parts

Stone 4 parts

Ball clay 14 parts

China clay 11 parts

Flint 4 parts

Stone 5 parts

Feldspar 4 parts

Cane marl 16 parts

China clay 10 parts

Stone 9 parts

Flint 5 parts

Glazes.

—Hard glaze:

Stone 10 parts

Flint 5 parts

Whiting 1 / 2 parts

Red lead 10 parts

Hard glaze:

Feldspar 25 parts

Flint 5 parts

Red lead 15 parts

Plaster 1 part

Softer:

White lead 13 parts

Flint glass 10 parts

Feldspar 18 parts

Stone 3 parts

Whiting 1 / 2 parts

Best:

Feldspar 20 parts

Flint glass 14 parts

White lead 14 parts

Stone 3 parts

Oxide of zinc 3 parts

Whiting 1 / 2 parts

Plaster 1 part

Rockingham Bodies.—

Ball clay 20 parts

China clay 13 parts

Flint 7 parts

Stone 1 part

Cane marl 22 parts

China clay 15 parts

Flint 8 parts

Feldspar 1 part

Glazes.—

I.— Red lead 60 parts

Stone 8 parts

Red clay 3 parts

Best manganese 5 parts

II.— White lead 60 parts

Feldspar 6 parts

Flint 16 parts

Red clay 6 parts

Manganese 12 parts

III.— Red lead 100 parts

Stone 15 parts

Flint 10 parts

China clay 10 parts

Manganese 40 parts

Crocus martis 2 parts

IV.— Litharge 100 parts

Feldspar 14 parts

China clay 20 parts

Manganese 40 parts

Oxide of iron 2 parts

Jet.

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

When fired use the following:

Glaze.—

Stone 60 parts

Flint 30 parts

Paris white 7 / 2 parts

Red lead 140 parts

One part mazarine blue stain to 10 parts glaze.

Mazarine Blue Stain.—

Oxide of cobalt 10 parts

Paris white 9 parts

Sulphate barytes 1 part

Calcine.

Another Process Body.—

Ball clay 16 parts

China clay 12 parts

Flint clay 9 parts

Stone clay 6 parts

Black stain 7 parts

Glaze.—

Litharge 70 parts

Paris white 3 parts

Flint 12 parts

Stone 30 parts

Black stain 20 parts

Black Stain.—

Chromate of iron 12 parts

Oxide of nickel 2 parts

Oxide of tin 2 parts

Carbonate of cobalt 5 parts

Oxide of manganese 2 parts

Calcine and grind.

Blue Stains.—

I.— Oxide of cobalt 2 / 2 parts

Oxide of zinc 7 / 2 parts

Stone 7 / 2 parts

Fire this very hard.

II.— Zinc 6 pounds

Flint 4 pounds

China clay 4 pounds

Oxide of cobalt 5 ounces

Hard fire.

III.— Whiting 3 / 4 parts

Flint 3 / 4 parts

Oxide of cobalt 2 / 2 parts

Glost fire.

Turquoise Stain.—

Prepared cobalt 1 / 2 parts

Oxide of zinc 6 parts

China clay 6 parts

Carbonate of soda. 1 part

Hard fire.

Materials:

Tin Ash.—

Old lead 4 parts

Grain tin 2 parts

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

Oxide Of Tin.—

Granulated tin 5 pounds

Niter / 2 pound

Put on saucers and fire in glost oven.

Oxide Of Chrome

is made by mixing powdered bichromate of potash with sulphur as follows:

Potash 6 parts

Flowers of sulphur 1 part

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

Production Of Luster Colors On Porcelain And Glazed Pottery.

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

Metallic Luster On Pottery.

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

Metallic Glazes On Enamels.

—The formulas used by the Arabs and their Italian successors are partly disclosed in manuscripts in the British and South Kensington Museums; two are given below:

Arab Italian

Copper sulphide 26.87 24.74

Silver sulphide 1.15 1.03

Mercury sulphide — 24.74

Red ocher 71.98 49.49

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

I II III IV V VI

Copper carbonate 30 — — 28 — 95

Copper oxalate — — — — 5 —

Copper sulphide — 20 — — — —

Silver carbonate — 3 — 2 1 5

Bismuth subnitrate — 12 — — 10 —

Stannous oxide — — 25 — — —

Red ocher 70 85 55 70 84 —

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

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

To Toughen China.

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

How To Tell Pottery And Porcelain.

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

Cheese

Manufacture.

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

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

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

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

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

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

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

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

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

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

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

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

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

American Factory.

—Same as Cheddar.

Brickbat.

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

Brie.

—A soft, white, cream cheese of French origin.

Cheddar.

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

Cheshire.

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

Cottenham.

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

Cream.

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

Damson.

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

Derbyshire.

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

Dunlop.

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

Dutch (Holland).

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

Emmenthaler.

—Same as Gruyère.

Gloucester.

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

Green Or Sage.

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

Gruyère.

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

Holland.

—Same as Dutch.

Leguminous.

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

Limburger.

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

Lincoln.

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

Neufchâtel.

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

Norfolk.

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

Parmesan.

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

Roquefort.

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

Roquefort, Imitation.

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

Sage.

—Same as green cheese.

Slipcoat Or Soft.

—A very rich, white cheese, somewhat resembling butter; for present use only.

Stilton.

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

Suffolk.

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

Swiss.

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

Westphalian.

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

Wiltshire.

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

York.

—From cream. It will not keep.

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

Cheddar Double
Gloucester Skim

Water 36.64 35.61 43.64

Casein 23.38 21.76 45.64

Fatty matter 35.44 38.16 5.76

Mineral matter 4.54 4.47 4.96

100.00 100.00 100.00

Stilton Cotherstone

Water 32.18 38.28

Butter 37.36 30.89

Casein 24.31 23.93

Milk, sugar, and
extractive matters 2.22 3.70

Mineral matter 3.93 3.20

100.00 100.00

Gruyère
(Swiss) Ordinary
Dutch

Water 40.00 36.10

Casein 31.50 29.40

Fatty matter 24.00 27.50

Salts 3.00 .90

Non─nitrogenous organic
matter and loss. 1.50 6.10

100.00 100.00

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

Goats’ Milk Cheese.

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

CHEESE COLORANT: See Food.

CHEMICAL GARDENS: See Gardens, Chemical.

CHERRY BALSAM: See Balsam.

CHERRY CORDIAL: See Wines and Liquors.

Chewing Gums

Manufacture.

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

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

I.— Gum chicle 1 pound

Sugar 2 pounds

Glucose 1 pound

Caramel butter 1 pound

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

II.— Chicle 6 ounces

Paraffine 2 ounces

Balsam of Tolu 2 drachms

Balsam of Peru 1 drachm

Sugar 20 ounces

Glucose 8 ounces

Water 6 ounces

Flavoring, enough.

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

III.— Gum chicle. 122 parts

Paraffine 42 parts

Balsam of Tolu. 4 parts

Sugar 384 parts

Water 48 parts

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

IV.— Gum chicle 240 parts

White wax 64 parts

Sugar 640 parts

Glucose 128 parts

Water 192 parts

Balsam of Peru 4 parts

Flavoring matter, enough.

Proceed as indicated in II.

V.— Balsam of Tolu 4 parts

Benzoin 1 part

White wax 1 part

Paraffine 1 part

Powdered sugar 1 part

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

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

Spruce Chewing Gum.—

Spruce gum 20 parts

Chicle 20 parts

Sugar, powdered 60 parts

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

CHICKEN-COOP APPLICATION: See Insecticides.

CHICKEN DISEASES AND THEIR REMEDIES: See Veterinary Formulas.

CHICORY, TESTS FOR: See Foods.

CHILBLAINS: See Ointments.

CHILBLAIN SOAP: See Soap.

CHILDREN, DOSES FOR: See Doses.

CHILLS, BITTERS FOR: See Wines and Liquors.

CHINA CEMENTS: See Adhesives and Lutes.

CHINA: See Ceramics.

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

CHINA REPAIRING: See Porcelain.

China Riveting.

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

CHLORIDES, PLATT’S: See Disinfectants.

CHLORINE-PROOFING: See Acid-Proofing.

Chocolate.

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

Coating Tablets With Chocolate.

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

CHOCOLATE CASTOR-OIL LOZENGES: See Castor Oil.

CHOCOLATE CORDIAL: See Wines and Liquors.

CHOCOLATE EXTRACTS: See Essences and Extracts.

CHOCOLATE SODA WATER: See Beverages.

CHOKING IN CATTLE: See Veterinary Formulas.

Cholera Remedies:

Sun Cholera Mixture.—

Tincture of opium 1 part

Tincture of capsicum 1 part

Tincture of rhubarb 1 part

Spirit of camphor 1 part

Spirit of peppermint 1 part

Squibb’s Diarrhea Mixture.—

Tincture opium 40 parts

Tincture capsicum 40 parts

Spirit camphor 40 parts

Chloroform 15 parts

Alcohol 65 parts

Aromatic Rhubarb.—

Cinnamon, ground 8 parts

Rhubarb 8 parts

Calumba 4 parts

Saffron 1 part

Powdered opium 2 parts

Oil peppermint 5 parts

Alcohol, q. s. ad. 100 parts

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

Rhubarb And Camphor.—

Tincture capsicum 2 ounces

Tincture opium 2 ounces

Tincture camphor 3 ounces

Tincture catechu 4 ounces

Tincture rhubarb 4 ounces

Spirit peppermint 4 ounces

Blackberry Mixture.—

Fluid extract blackberry root 2 pints

Fluid ginger, soluble 5 / 3 ounces

Fluid catechu 5 / 3 ounces

Fluid opium for tincture 160 minims

Brandy 8 ounces

Sugar 4 pounds

Essence cloves 256 minims

Essence cinnamon 256 minims

Chloroform 128 minims

Alcohol (25 per cent), q. s. ad. 1 gallon

CHOWCHOW: See Condiments.

CHROME YELLOW, TEST FOR: See Pigments.

CHROMIUM GLUE: See Adhesives.

Chromo Making.

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

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

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

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

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

Cider

To Make Cider.

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

Champagne Cider.

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

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

Cider Preservative.

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

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

Artificial Ciders.

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

Bottling Sweet Cider.

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

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

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

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

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

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

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

Imitation Cider.—

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

Rain water 100 gallons

Honey, unstrained 6 gallons

Catechu, powdered 3 ounces

Alum, powdered 5 ounces

Yeast (brewer’s preferably) 2 pints

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

Bitter almonds, crushed 8 ounces

Cloves 8 ounces

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

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

Catechu, powdered 3 parts

Alum, powdered 5 parts

Honey 640 parts

Water 12,800 parts

Yeast 32 parts

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

Oil of bitter almonds 1 part

Oil of clover 1 part

Caramel 32 parts

Alcohol 192 parts

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

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

CIDER VINEGAR: See Vinegar.

Cigars

Cigar Sizes And Colors.

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

How To Keep Cigars.

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

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

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

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

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

Cigar Flavoring.

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

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

III.— Tincture of valerian 4 drachms

Butyric aldehyde 4 drachms

Nitrous ether 1 drachm

Tincture vanilla 2 drachms

Alcohol 5 ounces

Water enough to make 16 ounces

IV.— Extract vanilla 4 ounces

Alcohol / 2 gallon

Jamaica rum / 2 gallon

Tincture valerian 8 ounces

Caraway seed 2 ounces

English valerian root 2 ounces

Bitter orange peel 2 ounces

Tonka beans 4 drachms

Myrrh 16 ounces

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

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

Cigar Spots.

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

Sodium carbonate 3 parts

Calx chlorinata 1 part

Hot water 8 parts

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

CINCHONA: See Wines and Liquors.

CINNAMON ESSENCE: See Essences and Extracts.

CINNAMON OIL AS AN ANTISEPTIC: See Antiseptics.

CITRATE OF MAGNESIUM: See Magnesium Citrate.

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

CLARIFICATION OF GELATIN AND GLUE: See Gelatin.

Clarifying.

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

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

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

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

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

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

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

Clarifying powder for alcoholic liquids:

Egg albumen, dry 40 parts

Sugar of milk 40 parts

Starch 20 parts

Reduce them to very fine powder, and mix thoroughly.

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

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

Clay:

Claying Mixture For Forges.

—Twenty parts fire clay; 20 parts cast-iron turnings; 1 part common salt; / 2 part sal ammoniac; all by measure.

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

Plastic Modeling Clay.

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

Cleaning Preparations and Methods

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

To Remove Stains From The Hands:

Removal of Aniline-Dye Stains from the Skin.

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

Pyrogallic-acid Stains On The Fingers

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

To Clean Very Soiled Hands.

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

To Remove Nitric-acid Stains.

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

Cleaning Gilded Articles:

To Clean Gilt Frames And Gilded Surfaces Generally.

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

To Clean Fire-gilt Articles.

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

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

Cleaning Gilded And Polychromed Work On Altars.

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

Spot And Stain Removers:

To Remove Aniline Stains.—

I.— Sodium nitrate 7 grains

Diluted sulphuric acid 15 grains

Water 1 ounce

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

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

Cleansing Fluids.

—A spot remover is made as follows:

I.— Saponine 7 parts

Water 130 parts

Alcohol 70 parts

Benzine 1,788 parts

Oil mirbane 5 parts

II.— Benzene (benzol) 89 parts

Ascetic ether 10 parts

Pear oil 1 part

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

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

Removal Of Picric-acid Stains.

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

II.—Apply a solution of

Boric acid 4 parts

Sodium benzoate 1 part

Water 100 parts

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

To Remove Finger Marks From Books, Etc.

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

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

Glycerine As A Detergent.

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

Cleaning Skins And Leather

: See also Leather.

To Clean Colored Leather.

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

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

To Clean Skins Used For Polishing Purposes.

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

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

Straw-hat Renovation:

To Renovate Straw Hats.

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

II.—Sponge the straw with a solution of

By weight

Sodium hyposulphite 10 parts

Glycerine 5 parts

Alcohol 10 parts

Water 75 parts

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

By weight

Citric acid 2 parts

Alcohol 10 parts

Water 90 parts

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

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

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

Waterproof Stiffening For Straw Hats.

—If a waterproof stiffening is required use one of the varnishes for which formulas follow:

I.— Copal 450 parts

Sandarac 75 parts

Venice turpentine 40 parts

Castor oil 5 parts

Alcohol 800 parts

II.— Shellac 500 parts

Sandarac 175 parts

Venice turpentine 50 parts

Castor oil 15 parts

Alcohol 2,000 parts

III.— Shellac 750 parts

Rosin 150 parts

Venice turpentine 150 parts

Castor oil 20 parts

Alcohol 2,500 parts

How To Clean A Panama Hat.

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

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

Paint, Varnish, And Enamel Removers:

To Remove Old Oil, Paint, Or Varnish Coats.

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

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

To Clean Brushes And Vessels Of Dry Paint

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

Varnish And Paint Remover.

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

To Remove Varnish From Metal.

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

To Remove Water Stains From Varnished Furniture.

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

To Remove Paint, Varnish, Etc., From Wood.

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

Water glass 5 parts

Soda lye, 40° B. (27 per cent) 1 part

Ammonia water 1 part

Mix.

Removing Varnish, Etc.

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

To Remove Enamel And Tin Solder.

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

Removing Paint And Varnish From Wood.

—The following compound is given as one which will clean paint or varnish from wood or stone without injuring the material:

Flour or wood pulp 385 parts

Hydrochloric acid 450 parts

Bleaching powder 160 parts

Turpentine 5 parts

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

Paste for Removing Old Paint or Varnish Coats.—

I.— Sodium hydrate 5 parts

Soluble soda glass 3 parts

Flour paste 6 parts

Water 4 parts

II.— Soap 10 parts

Potassium hydrate 7 parts

Potassium silicate 2 parts

{189}

To Remove Old Enamel.

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

Ink Eradicators:

Two-solution Ink Remover.—

I.—(a) Citric acid 1 part

Concentrated solution of borax 2 parts

Distilled water 16 parts

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

(b) Chloride of lime 3 parts

Water 16 parts

Concentrated borax solution 2 part

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

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

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

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

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

Ink Erasers.

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

II.— Citric acid 1 part

Water, distilled 10 parts

Concentrated solution of borax 2 parts

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

Erasing Powder Or Pounce.

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

Removing Ink Stains.

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

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

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

Oxalic acid 10 parts

Stannic chloride 2 parts

Acetic acid 5 parts

Water to make 500 parts

Mix.

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

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

To Remove Red (Aniline) Ink.

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

Cleaning Of Walls, Ceilings, And Wall Paper:

See also Household Formulas.

To Renovate Brick Walls.

—Dissolve glue in water in the proportion of 1 ounce of glue to every gallon of water; add, while hot, a piece of alum the size of a hen’s egg, / 2 pound Venetian red, and 1 pound Spanish brown. Add more water if too dark; more red and brown if too light.

Cleaning Painted Doors, Walls, Etc.

—The following recipe is designed for painted objects that are much soiled. Simmer gently on the fire, stirring constantly, 30 parts, by weight, of pulverized borax, and 450 parts of brown soap of good quality, cut in small pieces, in 3,000 parts of water. The liquid is applied by means of flannel and rinsed off at once with pure water.

To Remove Aniline Stains From Ceilings, Etc.

—In renewing ceilings, the old aniline color stains are often very annoying, as they penetrate the new coating. Painting over with shellac or oil paint will bring relief, but other drawbacks appear. A very practical remedy is to place a tin vessel on the floor of the room, and to burn a quantity of sulphur in it after the doors and windows of the room have been closed. The sulphur vapors destroy the aniline stains, which disappear entirely.

Old Ceilings.

—In dealing with old ceilings the distemper must be washed off down to the plaster face, all cracks raked out and stopped with putty (plaster of Paris and distemper mixed), and the whole rubbed smooth with pumice stone and water; stained parts should be painted with oil color, and the whole distempered. If old ceilings are in bad condition it is desirable that they should be lined with paper, which should have a coat of weak size before being distempered.

Oil Stains On Wall Paper.

—Make a medium thick paste of pipe clay and water, applying it carefully flat upon the oil stain, but avoiding all friction. The paste is allowed to remain 10 to 12 hours, after which time it is very carefully removed with a soft rag. In many cases a repeated action will be necessary until the purpose desired is fully reached. Finally, however, this will be obtained without blurring or destroying the design of the wall paper, unless it be of the cheapest variety. In the case of a light, delicate paper, the paste should be composed of magnesia and benzine.

To Clean Painted Walls.

—A simple method is to put a little aqua ammonia in moderately warm water, dampen a flannel with it, and gently wipe over the painted surface. No scrubbing is necessary.

Treatment Of Whitewashed Walls.

—It is suggested that whitewashed walls which it is desired to paper, with a view to preventing peeling, should be treated with water, after which the scraper should be vigorously used. If the whitewash has been thoroughly soaked it can easily be removed with the scraper. Care should be taken that every part of the wall is well scraped. {191}

Cleaning Wall Paper.

—I.—To clean wall paper the dust should first be removed by lightly brushing, preferably with a feather duster, and the surface then gently rubbed with slices of moderately stale bread, the discolored surface of the bread being removed from time to time, so as to expose a fresh portion for use. Care should be taken to avoid scratching the paper with the crust of the bread, and the rubbing should be in one direction, the surface being systematically gone over, as in painting, to avoid the production of streaks.

II.—Mix 4 ounces of powdered pumice with 1 quart of flour, and with the aid of water make a stiff dough. Form the dough into rolls 2 inches in diameter and 6 inches long; sew each roll separately in a cotton cloth, then boil for 40 or 50 minutes, so as to render the mass firm. Allow to stand for several hours, remove the crust, and they are ready for use.

III.—Bread will clean paper; but unless it is properly used the job will be a very tedious one. Select a “tin” loaf at least two days old. Cut off the crust at one end, and rub down the paper, commencing at the top. Do not rub the bread backwards and forwards, but in single strokes. When the end gets dirty take a very sharp knife and pare off a thin layer; then proceed as before.

It is well to make sure that the walls are quite dry before using the bread, or it may smear the pattern. If the room is furnished it will, of course, be necessary to place cloths around the room to catch the crumbs.

IV.—A preparation for cleansing wall paper that often proves much more effectual than ordinary bread, especially when the paper is very dirty, is made by mixing / 3 dough and / 3 plaster of Paris. This should be made a day before it is needed for use, and should be very gently baked.

If there are any grease spots they should be removed by holding a hot flatiron against a piece of blotting paper placed over them. If this fails, a little fuller’s earth or pipe clay should be made into a paste with water, and this should then be carefully plastered over the grease spots and allowed to remain till quite dry, when it will be found to have absorbed the grease.

V.—Mix together 1 pound each of rye flour and white flour into a dough, which is partially cooked and the crust removed. To this 1 ounce common salt and / 2 ounce of powdered naphthaline are added, and finally 1 ounce of corn meal, and / 8 ounce of burnt umber. The composition is formed into a mass, of the proper size to be grasped in the hand, and in use it should be drawn in one direction over the surface to be cleaned.

VI.—Procure a soft, flat sponge, being careful that there are no hard or gritty places in it, then get a bucket of new, clean, dry, wheat bran. Hold the sponge flat side up, and put a handful of bran on it, then quickly turn against the wall, and rub the wall gently and carefully with it; then repeat the operation. Hold a large pan or spread down a drip cloth to catch the bran as it falls, but never use the same bran twice. Still another way is to use Canton flannel in strips a foot wide and about 3 yards long. Roll a strip around a stick 1 inch thick and 10 inches long, so as to have the ends of the stick covered, with the nap of the cloth outside. As the cloth gets soiled, unroll the soiled part and roll it up with the soiled face inside.

In this way one can change places on the cloth when soiled and use the whole face of the cloth. To take out a grease spot requires care. First, take several thicknesses of brown wrapping paper and make a pad, place it against the grease spot, and hold a hot flatiron against it to draw out the grease, which will soak into the brown paper. Be careful to have enough layers of brown paper to keep the iron from scorching or discoloring the wall paper. If the first application does not take out nearly all the grease, repeat with clean brown paper or a blotting pad. Then take an ounce vial of washed sulphuric ether and a soft, fine, clean sponge and sponge the spot carefully until all the grease disappears. Do not wipe the place with the sponge and ether, but dab the sponge carefully against the place. A small quantity of ether is advised, as it is very inflammable.

Clothes And Fabric Cleaners:

Soaps For Clothing And Fabrics.

—When the fabric is washable and the color fast, ordinary soap and water are sufficient for removing grease and the ordinarily attendant dirt; but special soaps are made which may possibly be more effectual.

I.— Powdered borax 30 parts

Extract of soap bark 30 parts

Ox gall (fresh) 120 parts

Castile soap 450 parts

First make the soap-bark extract by boiling the crushed bark in water until it has assumed a dark color, then strain the liquid into an evaporating dish, and {192} by the aid of heat evaporate it to a solid extract; then powder and mix it with the borax and the ox gall. Melt the castile soap by adding a small quantity of water and warming, then add the other ingredients and mix well.

About 100 parts of soap bark make 20 parts of extract.

II.— Castile soap 2 pounds

Potassium carbonate / 2 pound

Camphor / 2 ounce

Alcohol / 2 ounce

Ammonia water / 2 ounce

Hot water, / 2 pint, or sufficient.

Dissolve the potassium carbonate in the water, add the soap previously reduced to thin shavings, keep warm over a water bath, stirring occasionally, until dissolved, adding more water if necessary, and finally, when of a consistence to become semisolid on cooling, remove from the fire. When nearly ready to set, stir in the camphor, previously dissolved in the alcohol and the ammonia.

The soap will apparently be quite as efficacious without the camphor and ammonia.

If a paste is desired, a potash soap should be used instead of the castile in the foregoing formula, and a portion or all of the water omitted. Soaps made from potash remain soft, while soda soaps harden on the evaporation of the water which they contain when first made.

A liquid preparation may be obtained, of course, by the addition of sufficient water, and some more alcohol would probably improve it.

Clothes-cleaning Fluids:

See also Household Formulas.

I.— Borax 1 ounce

Castile soap 1 ounce

Sodium carbonate 3 drachms

Ammonia water 5 ounces

Alcohol 4 ounces

Acetone 4 ounces

Hot water to make 4 pints

Dissolve the borax, sodium bicarbonate, and soap in the hot water, mix the acetone and alcohol together, unite the two solutions, and then add the ammonia water. The addition of a couple of ounces of rose water will render it somewhat fragrant.

II.—A strong decoction of soap bark, preserved by the addition of alcohol, forms a good liquid cleanser for fabrics of the more delicate sort.

III.— Chloroform 15 parts

Ether 15 parts

Alcohol 120 parts

Decoction of quillaia bark of 30° 4,500 parts

IV.— Acetic ether 10 parts

Amyl acetate 10 parts

Liquid ammonia 10 parts

Dilute alcohol 70 parts

V.—Another good non-inflammable spot remover consists of equal parts of acetone, ammonia, and diluted alcohol. For use in large quantities carbon tetrachloride is suggested.

VI.— Castile soap 4 av. ounces

Water, boiling 32 fluidounces

Dissolve and add:

Water 1 gallon

Ammonia 8 fluidounces

Ether 2 fluidounces

Alcohol 4 fluidounces

To Remove Spots From Tracing Cloth.

—It is best to use benzine, which is applied by means of a cotton rag. The benzine also takes off lead-pencil marks, but does not attack India and other inks. The places treated with benzine should subsequently be rubbed with a little talcum, otherwise it would not be possible to use the pen on them.

Removal Of Paint From Clothing.

—Before paint becomes “dry” it can be removed from cloth by the liberal application of turpentine or benzine. If the spot is not large, it may be immersed in the liquid; otherwise, a thick, folded, absorbent cloth should be placed under the fabric which has been spotted, and the liquid sponged on freely enough that it may soak through, carrying the greasy matter with it. Some skill in manipulation is requisite to avoid simply spreading the stain and leaving a “ring” to show how far it has extended.

When benzine is used the operator must be careful to apply it only in the absence of light or fire, on account of the extremely inflammable character of the vapor.

Varnish stains, when fresh, are treated in the same way, but the action of the solvent may possibly not be so complete on account of the gum rosins present.

When either paint or varnish has dried, its removal becomes more difficult. In such case soaking in strong ammonia water may answer. An emulsion, formed by shaking together 2 parts of ammonia water and 1 of spirits of turpentine, has been recommended.

To Remove Vaseline Stains From Clothing.

—Moisten the spots with a mixture of 1 part of aniline oil, 1 of {193} powdered soap, and 10 of water. After allowing the cloth to lie for 5 or 10 minutes, wash with water.

To Remove Grease Spots From Plush.

—Place fresh bread rolls in the oven, break them apart as soon as they have become very hot, and rub the spots with the crumbs, continuing the work by using new rolls until all traces of fat have disappeared from the fabric. Purified benzine, which does not alter even the most delicate colors, is also useful for this purpose.

To Remove Iron Rust From Muslin And Linen.

—Wet with lemon juice and salt and expose to the sun. If one application does not remove the spots, a second rarely fails to do so.

Keroclean.

—This non-inflammable cleanser removes grease spots from delicate fabrics without injury, cleans all kinds of jewelry and tableware by removing fats and tarnish, kills moths, insects, and household pests by suffocation and extermination, and cleans ironware by removing rust, brassware by removing grease, copperware by removing verdigris. It is as clear as water and will stand any fire test.

Kerosene. 1 ounce

Carbon tetrachloride (commercial). 3 ounces

Oil of citronella 2 drachms

Mix, and filter if necessary. If a strong odor of carbon bisulphide is detected in the carbon tetrachloride first shake with powdered charcoal and filter.

To Clean Gold And Silver Lace.

—I.—Alkaline liquids sometimes used for cleaning gold lace are unsuitable, for they generally corrode or change the color of the silk. A solution of soap also interferes with certain colors, and should therefore not be employed. Alcohol is an effectual remedy for restoring the luster of gold, and it may be used without any danger to the silk, but where the gold is worn off, and the base metal exposed, it is not so successful in accomplishing its purpose, as by removing the tarnish the base metal becomes more distinguishable from the fine gold.

II.—To clean silver lace take alabaster in very fine powder, lay the lace upon a cloth, and with a soft brush take up some of the powder, and rub both sides with it till it becomes bright and clean, afterwards polish with another brush until all remnants of the powder are removed, and it exhibits a lustrous surface.

III.—Silver laces are put in curdled milk for 24 hours. A piece of Venetian soap, or any other good soap, is scraped and stirred into 2 quarts of rain water. To this a quantity of honey and fresh ox gall is added, and the whole is stirred for some time. If it becomes too thick, more water is added. This mass is allowed to stand for half a day, and the wet laces are painted with it. Wrap a wet cloth around the roller of a mangle, wind the laces over this, put another wet cloth on top, and press, wetting and repeating the application several times. Next, dip the laces in a clear solution of equal parts of sugar and gum arabic, pass them again through the mangle, between two clean pieces of cloth, and hang them up to dry thoroughly, attaching a weight to the lower end.

IV.—Soak gold laces over night in cheap white wine and then proceed as with silver laces. If the gold is worn off, put 771 grains of shellac, 31 grains of dragon’s blood, 31 grains of turmeric in strong alcohol and pour off the ruby-colored fluid. Dip a fine hair pencil in this, paint the pieces to be renewed, and hold a hot flatiron a few inches above them, so that only the laces receive the heat.

V.—Silver embroideries may also be cleaned by dusting them with Vienna lime, and brushing off with a velvet brush.

For gildings the stuff is dipped in a solution of gold chloride, and this is reduced by means of hydrogen in another vessel.

For silvering, one of the following two processes may be employed: (a) Painting with a solution of 1 part of phosphorus in 15 parts bisulphide of carbon and dipping in a solution of nitrate of silver; (b) dipping for 2 hours in a solution of nitrate of silver, mixed with ammonia, then exposing to a current of pure hydrogen.

To Remove Silver Stains From White Fabrics.

—Moisten the fabric for two or three minutes with a solution of 5 parts of bromine and 500 parts of water. Then rinse in clear water. If a yellowish stain remains, immerse in a solution of 150 parts of sodium hyposulphite in 500 parts of water, and again rinse in clear water.

Rust-spot Remover.

—Dissolve potassium bioxalate, 200 parts, in distilled water, 8,800 parts; add glycerine, 1,000 parts, and filter. Moisten the rust or ink spots with this solution; let the linen, etc., lie for 3 hours, rubbing the moistened spots frequently, and then wash well with water. {194}

To Clean Quilts.

—Quilts are cleaned by first washing them in lukewarm soapsuds, then laying them in cold, soft (rain) water over night. The next day they are pressed as dry as possible and hung up; the ends, in which the moisture remains for a long time, must be wrung out from time to time.

It is very essential to beat the drying quilts frequently with a smooth stick or board. This will have the effect of swelling up the wadding, and preventing it from felting. Furthermore, the quilts should be repeatedly turned during the drying from right to left and also from top to bottom. In this manner streaks are avoided.

Removal Of Peruvian-balsam Stains.

—The fabric is spread out, a piece of filter paper being placed beneath the stain, and the latter is then copiously moistened with chloroform, applied by means of a tuft of cotton wool. Rubbing is to be avoided.

Solution For Removing Nitrate Of Silver Spots.—

Bichloride of mercury 5 parts

Ammonium chloride 5 parts

Distilled water 40 parts

Apply the mixture to the spots with a cloth, then rub. This removes, almost instantaneously, even old stains on linen, cotton, or wool. Stains on the skin thus treated become whitish yellow and soon disappear.

Cleaning Tracings.

—Tracing cloth can be very quickly and easily cleaned, and pencil marks removed by the use of benzine, which is applied with a cotton swab. It may be rubbed freely over the tracing without injury to lines drawn in ink, or even in water color, but the pencil marks and dirt will quickly disappear. The benzine evaporates almost immediately, leaving the tracing unharmed. The surface, however, has been softened and must be rubbed down with talc, or some similar substance, before drawing any more ink lines.

The glaze may be restored to tracing cloth after using the eraser by rubbing the roughened surface with a piece of hard wax from an old phonograph cylinder. The surface thus produced is superior to that of the original glaze, as it is absolutely oil- and water-proof.

Rags For Cleaning And Polishing.

—Immerse flannel rags in a solution of 20 parts of dextrine and 30 parts of oxalic acid in 20 parts of logwood decoction; gently wring them out, and sift over them a mixture of finely powdered tripoli and pumice stone. Pile the moist rags one upon another, placing a layer of the powder between each two. Then press, separate, and dry.

Cleaning Powder.—

Bole 500 parts

Magnesium carbonate 50 parts

Mix and make into a paste with a small quantity of benzine or water; apply to stains made by fats or oils on the clothing and when dry remove with a brush.

Cleaning Painted And Varnished Surfaces:

Cleaning And Preserving Polished Woodwork.

—Rub down all the polished work with a very weak alcoholic solution of shellac (1 to 20 or even 1 to 30) and linseed oil, spread on a linen cloth. The rubbing should be firm and hard. Spots on the polished surface, made by alcohol, tinctures, water, etc., should be removed as far as possible and as soon as possible after they are made, by the use of boiled linseed oil. Afterwards they should be rubbed with the shellac and linseed oil solution on a soft linen rag. If the spots are due to acids go over them with a little dilute ammonia water. Ink spots may be removed with dilute or (if necessary) concentrated hydrochloric acid, following its use with dilute ammonia water. In extreme cases it may be necessary to use the scraper or sandpaper, or both.

Oak as a general thing is not polished, but has a matt surface which can be washed with water and soap. First all stains and spots should be gone over with a sponge or a soft brush and very weak ammonia water. The carved work should be freed of dust, etc., by the use of a stiff brush, and finally washed with dilute ammonia water. When dry it should be gone over very thinly and evenly with brunoline applied with a soft pencil. If it is desired to give an especially handsome finish, after the surface is entirely dry, give it a preliminary coat of brunoline and follow this on the day after with a second. Brunoline may be purchased of any dealer in paints. To make it, put 70 parts of linseed oil in a very capacious vessel (on account of the foam that ensues) and add to it 20 parts of powdered litharge, 20 parts of powdered minium, and 10 parts of lead acetate, also powdered. Boil until the oil is completely oxidized, stirring constantly. When completely oxidized the oil is no longer red, but is of a dark brown color. When it acquires {195} this color, remove from the fire, and add 160 parts of turpentine oil, and stir well. This brunoline serves splendidly for polishing furniture or other polished wood.

To Clean Lacquered Goods.

—Papier-maché and lacquered goods may be cleaned perfectly by rubbing thoroughly with a paste made of wheat flour and olive oil. Apply with a bit of soft flannel or old linen, rubbing hard; wipe off and polish by rubbing with an old silk handkerchief.

Polish For Varnished Work.

—To renovate varnished work make a polish of 1 quart good vinegar, 2 ounces butter of antimony, 2 ounces alcohol, and 1 quart oil. Shake well before using.

To Clean Paintings.

—To clean an oil painting, take it out of its frame, lay a piece of cloth moistened with rain water on it, and leave it for a while to take up the dirt from the picture. Several applications may be required to secure a perfect result. Then wipe the picture very gently with a tuft of cotton wool damped with absolutely pure linseed oil. Gold frames may be cleaned with a freshly cut onion; they should be wiped with a soft sponge wet with rain water a few hours after the application of the onion, and finally wiped with a soft rag.

Removing And Preventing Match Marks.

—The unsightly marks made on a painted surface by striking matches on it can sometimes be removed by scrubbing with soapsuds and a stiff brush. To prevent match marks dip a bit of flannel in alboline (liquid vaseline), and with it go over the surface, rubbing it hard. A second rubbing with a dry bit of flannel completes the job. A man may “strike” a match there all day, and neither get a light nor make a mark.

Glove Cleaners:

Powder For Cleaning Gloves.—

I.— White bole or pipe clay 60.0 parts

Orris root (powdered) 30.0 parts

Powdered grain soap 7.5 parts

Powdered borax 15.0 parts

Ammonium chloride 2.5 parts

Mix the above ingredients. Moisten the gloves with a damp cloth, rub on the powder, and brush off after drying.

II.—Four pounds powdered pipe clay, 2 pounds powdered white soap, 1 ounce lemon oil, thoroughly rubbed together. To use, make powder into a thin cream with water and rub on the gloves while on the hands. This is a cheaply produced compound, and does its work effectually.

Soaps And Pastes For Cleaning Gloves.—

I.— Soft soap. 1 ounce

Water. 4 ounces

Oil of lemon / 2 drachm

Precipitated chalk, a sufficient quantity.

Dissolve the soap in the water, add the oil, and make into a stiff paste with a sufficient quantity of chalk.

II.— White hard soap. 1 part

Talcum. 1 part

Water 4 parts

Shave the soap into ribbons, dissolve in the water by the aid of heat, and incorporate the talcum.

III.— Curd soap 1 av. ounce

Water 4 fluidounces

Oil of lemon. / 2 fluidrachm

French chalk, a sufficient quantity.

Shred the soap and melt it in the water by heat, add the oil of lemon, and make into a stiff paste with French chalk.

IV.— White castile soap, old and dry 15 parts

Water 15 parts

Solution of chlorinated soda 16 parts

Ammonia water 1 part

Cut or shave up the soap, add the water, and heat on the water bath to a smooth paste. Remove, let cool, and add the other ingredients and mix thoroughly.

V.— Castile soap, white, old, and dry 100 parts

Water 75 parts

Tincture of quillaia 10 parts

Ether, sulphuric 10 parts

Ammonia water, FF 5 parts

Benzine, deodorized 75 parts

Melt the soap, previously finely shaved, in the water, bring to a boil and remove from the fire. Let cool down, then add the other ingredients, incorporating them thoroughly. This should be put up in collapsible tubes or tightly closed metallic boxes. This is also useful for clothing.

Liquid Cloth And Glove Cleaner.—

Gasoline. 1 gallon

Chloroform. 1 ounce

Carbon disulphide 1 ounce

Essential oil almond 5 drops

Oil bergamot 1 drachm

Oil cloves 5 drops

Mix. To be applied with a sponge or soft cloth.

Stone Cleaning:

Cleaning And Polishing Marble.

—I.—Marble that has become dirty by ordinary use or exposure may be cleaned by a simple bath of soap and water.

If this does not remove stains, a weak solution of oxalic acid should be applied with a sponge or rag, washing quickly and thoroughly with water to minimize injury to the surface.

Rubbing well after this with chalk moistened with water will, in a measure, restore the luster. Another method of finishing is to apply a solution of white wax in turpentine (about 1 in 10), rubbing thoroughly with a piece of flannel or soft leather.

If the marble has been much exposed, so that its luster has been seriously impaired, it may be necessary to repolish it in a more thorough manner. This may be accomplished by rubbing it first with sand, beginning with a moderately coarse-grained article and changing this twice for finer kinds, after which tripoli or pumice is used. The final polish is given by the so-called putty powder. A plate of iron is generally used in applying the coarse sand; with the fine sand a leaden plate is used; and the pumice is employed in the form of a smooth-surfaced piece of convenient size. For the final polishing coarse linen or bagging is used, wedged tightly into an iron planing tool. During all these applications water is allowed to trickle over the face of the stone.

The putty powder referred to is binoxide of tin, obtained by treating metallic tin with nitric acid, which converts the metal into hydrated metastannic acid. This, when heated, becomes anhydrous. In this condition it is known as putty powder. In practice putty powder is mixed with alum, sulphur, and other substances, the mixture used being dependent upon the nature of the stone to be polished.

According to Warwick, colored marble should not be treated with soap and water, but only with the solution of beeswax above mentioned.

II.—Take 2 parts of sodium bicarbonate, 1 part of powdered pumice stone, and 1 part of finely pulverized chalk. Pass through a fine sieve to screen out all particles capable of scratching the marble, and add sufficient water to form a pasty mass. Rub the marble with it vigorously, and end the cleaning with soap and water.

III.— Ox gall 1 part

Saturated solution of sodium carbonate 4 parts

Oil of turpentine 1 part

Pipe clay enough to form a paste.

IV.— Sodium carbonate 2 ounces

Chlorinated lime. 1 ounce

Water 14 ounces

Mix well and apply the magma to the marble with a cloth, rubbing well in, and finally rubbing dry. It may be necessary to repeat this operation.

V.—Wash the surface with a mixture of finely powdered pumice stone and vinegar, and leave it for several hours; then brush it hard and wash it clean. When dry, rub with whiting and wash leather.

VI.— Soft soap. 4 parts

Whiting 4 parts

Sodium bicarbonate 1 part

Copper sulphate 2 parts

Mix thoroughly and rub over the marble with a piece of flannel, and leave it on for 24 hours, then wash it off with clean water, and polish the marble with a piece of flannel or an old piece of felt.

VII.—A strong solution of oxalic acid effectually takes out ink stains. In handling it the poisonous nature of this acid should not be forgotten.

VIII.—Iron mold or ink spots may be taken out in the following manner: Take / 2 ounce of butter of antimony and 1 ounce of oxalic acid and dissolve them in 1 pint of rain water; add enough flour to bring the mixture to a proper consistency. Lay it evenly on the stained part with a brush, and, after it has remained for a few days, wash it off and repeat the process if the stain is not wholly removed.

IX.—To remove oil stains apply common clay saturated with benzine. If the grease has remained in long the polish will be injured, but the stain will be removed.

X.—The following method for removing rust from iron depends upon the solubility of the sulphide of iron in a solution of cyanide of potassium. Clay is made into a thin paste with ammonium sulphide, and the rust spot smeared with the mixture, care being taken that the spot is only just covered. After ten minutes this paste is washed off and replaced by one consisting of white bole mixed with a solution of potassium cyanide (1 to 4), which is in its turn {197} washed off after about 2 / 2 hours. Should a reddish spot remain after washing off the first paste, a second layer may be applied for about 5 minutes.

XI.— Soft soap 4 ounces

Whiting 4 ounces

Sodium carbonate 1 ounce

Water, a sufficient quantity.

Make into a thin paste, apply on the soiled surface, and wash off after 24 hours.

XII.—In a spacious tub place a tall vessel upside down. On this set the article to be cleaned so that it will not stand in the water, which would loosen the cemented parts. Into this tub pour a few inches of cold water—hot water renders marble dull—take a soft brush and a piece of Venetian soap, dip the former in the water and rub on the latter carefully, brushing off the article from top to bottom. When in this manner dust and dirt have been dissolved, wash off all soap particles by means of a watering pot and cold water, dab the object with a clean sponge, which absorbs the moisture, place it upon a cloth and carefully dry with a very clean, soft cloth, rubbing gently. This treatment will restore the former gloss to the marble.

XIII.—Mix and shake thoroughly in a bottle equal quantities of sulphuric acid and lemon juice. Moisten the spots and rub them lightly with a linen cloth and they will disappear.

XIV.—Ink spots are treated with acid oxalate of potassium; blood stains by brushing with alabaster dust and distilled water, then bleaching with chlorine solution. Alizarine ink and aniline ink spots can be moderated by laying on rags saturated with Javelle water, chlorine water, or chloride of lime paste. Old oil stains can only be effaced by placing the whole piece of marble for hours in benzine. Fresh oil or grease spots are obliterated by repeated applications of a little damp, white clay and subsequent brushing with soap water or weak soda solution. For many other spots an application of benzine and magnesia is useful.

XV.—Marble slabs keep well and do not lose their fresh color if they are cleaned with hot water only, without the addition of soap, which is injurious to the color. Care must be taken that no liquid dries on the marble. If spots of wine, coffee, beer, etc., have already appeared, they are cleaned with diluted spirit of sal ammoniac, highly diluted oxalic acid, Javelle water, ox gall, or, take a quantity of newly slaked lime, mix it with water into a paste-like consistency, apply the paste uniformly on the spot with a brush, and leave the coating alone for two to three days before it is washed off. If the spots are not removed by a single application, repeat the latter. In using Javelle water 1 or 2 drops should be carefully poured on each spot, rinsing off with water.

To Remove Grease Spots From Marble.

—If the spots are fresh, rub them over with a piece of cloth that has been dipped into pulverized china clay, repeating the operation several times, and then brush with soap and water. When the spots are old brush with distilled water and finest French plaster energetically, then bleach with chloride of lime that is put on a piece of white cloth. If the piece of marble is small enough to permit it, soak it for a few hours in refined benzine.

Preparation For Cleaning Marble, Furniture, And Metals, Especially Copper.

—This preparation is claimed to give very quickly perfect brilliancy, persisting without soiling either the hand or the articles, and without leaving any odor of copper. The following is the composition for 100 parts of the product: Wax, 2.4 parts; oil of turpentine, 9.4 parts; acetic acid, 42 parts; citric acid, 42 parts; white soap, 42 parts.

Removing Oil Stains From Marble.

—Saturate fuller’s earth with a solution of equal parts of soap liniment, ammonia, and water; apply to the greasy part of the marble; keep there for some hours, pressed down with a smoothing iron sufficiently hot to warm the mass, and as it evaporates occasionally renew the solution. When wiped off dry the stain will have nearly disappeared. Some days later, when more oil works toward the surface repeat the operation. A few such treatments should suffice.

Cleaning Terra Cotta.

—After having carefully removed all dust, paint the terra cotta, by means of a brush, with a mixture of slightly gummed water and finely powdered terra cotta.

Renovation Of Polished And Varnished Surfaces Of Wood, Stone, Etc.

—This is composed of the following ingredients, though the proportions may be varied: Cereal flour or wood pulp, 38 / 2 parts; hydrochloric acid, 45 parts; chloride of lime, 16 parts; turpentine, / 2 part. After mixing the ingredients thoroughly in order to form a homogeneous paste, the object to be treated is smeared with it and allowed to stand for some time. The paste on the surface is then removed by passing over it quickly a piece of soft {198} leather or a brush, which will remove dirt, grease, and other deleterious substances. By rubbing gently with a cloth or piece of leather a polished surface will be imparted to wood, and objects of metal will be rendered lustrous.

The addition of chloride of lime tends to keep the paste moist, thus allowing the ready removal of the paste without damaging the varnish or polish, while the turpentine serves as a disinfectant and renders the odor less disagreeable during the operation.

The preparation is rapid in its action, and does not affect the varnished or polished surfaces of wood or marble. While energetic in its cleansing action on brass and other metallic objects, it is attended with no corrosive effect.

Nitrate Of Silver Spots.

—To remove these spots from white marble, they should be painted with Javelle water, and after having been washed, passed over a concentrated solution of thiosulphate of soda (hyposulphite).

To Remove Oil-paint Spots From Sandstones.

—This may be done by washing the spots with pure turpentine oil, then covering the place with white argillaceous earth (pipe clay), leaving it to dry, and finally rubbing with sharp soda lye, using a brush. Caustic ammonia also removes oil-paint spots from sandstones.

Rust Removers:

To Remove Rust from Iron or Steel Utensils.—

I.—Apply the following solution by means of a brush, after having removed any grease by rubbing with a clean, dry cloth: 100 parts of stannic chloride are dissolved in 1,000 parts of water; this solution is added to one containing 2 parts tartaric acid dissolved in 1,000 parts of water, and finally 20 cubic centimeters indigo solution, diluted with 2,000 parts of water, are added. After allowing the solution to act upon the stain for a few seconds, it is rubbed clean, first with a moist cloth, then with a dry cloth; to restore the polish use is made of silver sand and jewelers’ rouge.

II.—When the rust is recent it is removed by rubbing the metal with a cork charged with oil. In this manner a perfect polish is obtained. To take off old rust, mix equal parts of fine tripoli and flowers of sulphur, mingling this mixture with olive oil, so as to form a paste. Rub the iron with this preparation by means of a skin.

III.—The rusty piece is connected with a piece of zinc and placed in water containing a little sulphuric acid. After the articles have been in the liquid for several days or a week, the rust will have completely disappeared. The length of time will depend upon the depth to which the rust has penetrated. A little sulphuric acid may be added from time to time, but the chief point is that the zinc always has good electric contact with the iron. To insure this an iron wire may be firmly wound around the iron object and connected with the zinc. The iron is not attacked in the least, as long as the zinc is kept in good electric contact with it. When the articles are taken from the liquid they assume a dark gray or black color and are then washed and oiled.

IV.—The rust on iron and steel objects, especially large pieces, is readily removed by rubbing the pieces with oil of tartar, or with very fine emery and a little oil, or by putting powdered alum in strong vinegar and rubbing with this alumed vinegar.

V.—Take cyanide of calcium, 25 parts; white soap, powdered, 25 parts; Spanish white, 50 parts; and water, 200 parts. Triturate all well and rub the piece with this paste. The effect will be quicker if before using this paste the rusty object has been soaked for 5 to 10 minutes in a solution of cyanide of potassium in the ratio of 1 part of cyanide to 2 parts of water.

VI.—To remove rust from polished steel cyanide of potassium is excellent. If possible, soak the instrument to be cleaned in a solution of cyanide of potassium in the proportion of 1 ounce of cyanide to 4 ounces of water. Allow this to act till all loose rust is removed, and then polish with cyanide soap. The latter is made as follows: Potassium cyanide, precipitated chalk, white castile soap. Make a saturated solution of the cyanide and add chalk sufficient to make a creamy paste. Add the soap cut in fine shavings and thoroughly incorporate in a mortar. When the mixture is stiff cease to add the soap. It should be remembered that potassium cyanide is a virulent poison.

VII.—Apply turpentine or kerosene oil, and after letting it stand over night, clean with finest emery cloth.

VIII.—To free articles of iron and steel from rust and imbedded grains of sand the articles are treated with fluorhydric acid (about 2 per cent) 1 to 2 hours, whereby the impurities but not the metal are dissolved. This is followed by a washing with lime milk, to neutralize any fluorhydric acid remaining. {199}

To Remove Rust From Nickel.

—First grease the articles well; then, after a few days, rub them with a rag charged with ammonia. If the rust spots persist, add a few drops of hydrochloric acid to the ammonia, rub and wipe off at once. Next rinse with water, dry, and polish with tripoli.

Removal Of Rust.

—To take off the rust from small articles which glass or emery paper would bite too deeply, the ink-erasing rubber used in business offices may be employed. By beveling it, or cutting it to a point as needful, it can be introduced into the smallest cavities and windings, and a perfect cleaning be effected.

To Remove Rust From Instruments.

—I.—Lay the instruments over night in a saturated solution of chloride of tin. The rust spots will disappear through reduction. Upon withdrawal from the solution the instruments are rinsed with water, placed in a hot soda-soap solution, and dried. Cleaning with absolute alcohol and polishing chalk may also follow.

II.—Make a solution of 1 part of kerosene in 200 parts of benzine or carbon tetrachloride, and dip the instruments, which have been dried by leaving them in heated air, in this, moving their parts, if movable, as in forceps and scissors, about under the liquid, so that it may enter all the crevices. Next lay the instruments on a plate in a dry room, so that the benzine can evaporate. Needles are simply thrown in the paraffine solution, and taken out with tongs or tweezers, after which they are allowed to dry on a plate.

III.—Pour olive oil on the rust spots and leave for several days; then rub with emery or tripoli, without wiping off the oil as far as possible, or always bringing it back on the spot. Afterwards remove the emery and the oil with a rag, rub again with emery soaked with vinegar, and finally with fine plumbago on a piece of chamois skin.

To Preserve Steel From Rust.

—To preserve steel from rust dissolve 1 part caoutchouc and 16 parts turpentine with a gentle heat, then add 8 parts boiled oil, and mix by bringing them to the heat of boiling water. Apply to the steel with a brush, the same as varnish. It can be removed again with a cloth soaked in turpentine.

Metal Cleaning:

Cleaning And Preserving Medals, Coins, And Small Iron Articles.

—The coating of silver chloride may be reduced with molten potassium cyanide. Then boil the article in water, displace the water with alcohol, and dry in a drying closet. When dry brush with a soft brush and cover with “zaponlack” (any good transparent lacquer or varnish will answer).

Instead of potassium cyanide alone, a mixture of that and potassium carbonate may be used. After treatment in this way, delicate objects of silver become less brittle. Another way is to put the article in molten sodium carbonate and remove the silver carbonate thus formed, by acetic acid of 50 per cent strength. This process produces the finest possible polish.

The potassium-cyanide process may be used with all small iron objects. For larger ones molten potassium rhodanide is recommended. This converts the iron oxide into iron sulphide that is easily washed off and leaves the surface of a fine black color.

Old coins may be cleansed by first immersing them in strong nitric acid and then washing them in clean water. Wipe them dry before putting away.

To Clean Old Medals.

—Immerse in lemon juice until the coating of oxide has completely disappeared; 24 hours is generally sufficient, but a longer time is not harmful.

Steel Cleaner.

—Smear the object with oil, preferably petroleum, and allow some days for penetration of the surface of the metal. Then rub vigorously with a piece of flannel or willow wood. Or, with a paste composed of olive oil, sulphur flowers, and tripoli, or of rotten stone and oil. Finally, a coating may be employed, made of 10 parts of potassium cyanide and 1 part of cream of tartar; or 25 parts of potassium cyanide, with the addition of 55 parts of carbonate of lime and 20 parts of white soap.

Restoring Tarnished Gold.—

Sodium bicarbonate 20 ounces

Chlorinated lime 1 ounce

Common salt 1 ounce

Water 16 ounces

Mix well and apply with a soft brush.

A very small quantity of the solution is sufficient, and it may be used either cold or lukewarm. Plain articles may be brightened by putting a drop or two of the liquid upon them and lightly brushing the surface with fine tissue paper. {200}

Cleaning Copper.—

I.—Use Armenian bole mixed into a paste with oleic acid.

II.— Rotten stone 1 part

Iron subcarbonate 3 parts

Lard oil, a sufficient quantity.

III.— Iron oxide 10 parts

Pumice stone 32 parts

Oleic acid, a sufficient quantity.

IV.— Soap, cut fine 16 parts

Precipitated chalk 2 parts

Jewelers’ rouge 1 part

Cream of tartar 1 part

Magnesium carbonate 1 part

Water, a sufficient quantity.

Dissolve the soap in the smallest quantity of water that will effect solution over a water bath. Add the other ingredients to the solution while still hot, stirring constantly.

To Remove Hard Grease, Paint, Etc., From Machinery.

—To remove grease, paint, etc., from machinery add half a pound of caustic soda to 2 gallons of water and boil the parts to be cleaned in the fluid. It is possible to use it several times before its strength is exhausted.

Solutions For Cleaning Metals.—

I.— Water 20 parts

Alum 2 parts

Tripoli 2 parts

Nitric acid 1 part

II.— Water 40 parts

Oxalic acid 2 parts

Tripoli 7 parts

To Cleanse Nickel.

—I.—Fifty parts of rectified alcohol; 1 part of sulphuric acid; 1 part of nitric acid. Plunge the piece in the bath for 10 to 15 seconds, rinse it off in cold water, and dip it next into rectified alcohol. Dry with a fine linen rag or with sawdust.

II.— Stearine oil 1 part

Ammonia water 25 parts

Benzine 50 parts

Alcohol 75 parts

Rub up the stearine with the ammonia, add the benzine and then the alcohol, and agitate until homogeneous. Put in wide-mouthed vessels and close carefully.

To Clean Petroleum Lamp Burners.

—Dissolve in a quart of soft water an ounce or an ounce and a half of washing soda, using an old half-gallon tomato can. Into this put the burner after removing the wick, set it on the stove, and let it boil strongly for 5 or 6 minutes, then take out, rinse under the tap, and dry. Every particle of carbonaceous matter will thus be got rid of, and the burner be as clean and serviceable as new. This ought to be done at least every month, but the light would be better if it were done every 2 weeks.

Gold-ware Cleaner.—

Acetic acid 2 parts

Sulphuric acid 2 parts

Oxalic acid 1 part

Jewelers’ rouge 2 parts

Distilled water 200 parts

Mix the acids and water and stir in the rouge, after first rubbing it up with a portion of the liquid. With a clean cloth, wet with this mixture, go well over the article. Rinse off with hot water and dry.

Silverware Cleaner.

—Make a thin paste of levigated (not precipitated) chalk and sodium hyposulphite, in equal parts, rubbed up in distilled water. Apply this paste to the surface, rubbing well with a soft brush. Rinse in clear water and dry in sawdust. Some authorities advise the cleaner to let the paste dry on the ware, and then to rub off and rinse with hot water.

Silver-coin Cleaner.

—Make a bath of 10 parts of sulphuric acid and 90 parts of water, and let the coin lie in this until the crust of silver sulphide is dissolved. From 5 to 10 minutes usually suffice. Rinse in running water, then rub with a soft brush and castile soap, rinse again, dry with a soft cloth, and then carefully rub with chamois.

Cleaning Silver-plated Ware.

—Into a wide-mouthed bottle provided with a good cork put the following mixture:

Cream of tartar 2 parts

Levigated chalk 2 parts

Alum 1 part

Powder the alum and rub up with the other ingredients, and cork tightly. When required for use wet sufficient of the powder and with soft linen rags rub the article, being careful not to use much pressure, as otherwise the thin layer of plating may be cut through. Rinse in hot suds, and afterwards in clear water, and dry in sawdust. When badly blackened with silver sulphide, if small, the article may be dipped for an instant in hydrochloric acid and immediately rinsed in running water. Larger articles may be treated as coins are—immersed for 2 or 3 minutes in a 10 per cent aqueous solution of sulphuric acid, or the surface may be rapidly wiped {201} with a swab carrying nitric acid and instantly rinsed in running water.

Cleaning Gilt Bronze Ware.

—If greasy, wash carefully in suds, or, better, dip into a hot solution of caustic potash, and then wash in suds with a soft rag, and rinse in running water. If not then clean and bright, dip into the following mixture:

Nitric acid 10 parts

Aluminum sulphate 1 part

Water 40 parts

Mix. Rinse in running water.

Britannia Metal Cleaner.

—Rub first with jewelers’ rouge made into a paste with oil; wash in suds, rinse, dry, and finish with chamois or wash leather.

To Remove Ink Stains On Silver.

—Silver articles in domestic use, and especially silver or plated inkstands, frequently become badly stained with ink. These stains cannot be removed by ordinary processes, but readily yield to a paste of chloride of lime and water. Javelle water may be also used.

Removing Egg Stains.

—A pinch of table salt taken between the thumb and finger and rubbed on the spot with the end of the finger will usually remove the darkest egg stain from silver.

To Clean Silver Ornaments.

—Make a strong solution of soft soap and water, and in this boil the articles for a few minutes—five will usually be enough. Take out, pour the soap solution into a basin, and as soon as the liquid has cooled down sufficiently to be borne by the hand, with a soft brush scrub the articles with it. Rinse in boiling water and place on a porous substance (a bit of tiling, a brick, or unglazed earthenware) to dry. Finally give a light rubbing with a chamois. Articles thus treated look as bright as new.

Solvent For Iron Rust.

—Articles attacked by rust may be conveniently cleaned by dipping them into a well-saturated solution of stannic chloride. The length of time of the action must be regulated according to the thickness of the rust. As a rule 12 to 24 hours will suffice, but it is essential to prevent an excess of acid in the bath, as this is liable to attack the iron itself. After the objects have been removed from the bath they must be rinsed with water, and subsequently with ammonia, and then quickly dried. Greasing with vaseline seems to prevent new formation of rust. Objects treated in this manner are said to resemble dead silver.

Professor Weber proposed a diluted alkali, and it has been found that after employing this remedy the dirt layer is loosened and the green platina reappears. Potash has been found to be an efficacious remedy, even in the case of statues that had apparently turned completely black.

To Clean Polished Parts Of Machines.

—Put in a flask 1,000 parts of petroleum; add 20 parts of paraffine, shaved fine; cork the bottle and stand aside for a couple of days, giving it an occasional shake. The mixture is now ready for use. To use, shake the bottle, pour a little of the liquid upon a woolen rag and rub evenly over the part to be cleaned; or apply with a brush. Set the article aside and, next day, rub it well with a dry, woolen rag. Every particle of rust, resinified grease, etc., will disappear provided the article has not been neglected too long. In this case a further application of the oil will be necessary. If too great pressure has not been made, or the rubbing continued too long, the residual oil finally leaves the surface protected by a delicate layer of paraffine that will prevent rusting for a long time.

To Clean Articles Of Nickel.

—Lay them for a few seconds in alcohol containing 2 per cent of sulphuric acid; remove, wash in running water, rinse in alcohol, and rub dry with a linen cloth. This process gives a brilliant polish and is especially useful with plated articles on the plating of which the usual polishing materials act very destructively. The yellowest and brownest nickeled articles are restored to pristine brilliancy by leaving them in the alcohol and acid for 15 seconds. Five seconds suffice ordinarily.

How To Renovate Bronzes.

—For gilt work, first remove all grease, dirt, wax, etc., with a solution in water of potassium or sodium hydrate, then dry, and with a soft rag apply the following:

Sodium carbonate 7 parts

Spanish whiting 15 parts

Alcohol, 85 per cent 50 parts

Water 125 parts

Go over every part carefully, using a brush to get into the minute crevices. When this dries on, brush off with a fine linen cloth or a supple chamois skin.

Or the following plan may be used: Remove grease, etc., as directed above, dry and go over the spots where the gilt surface is discolored with a brush dipped in a solution of two parts of alum in 250 parts of water and 65 parts of nitric acid. As soon as the gilding reappears or the {202} surface becomes bright, wash off, and dry in the direct sunlight.

Still another cleaner is made of nitric acid, 30 parts; aluminum sulphate, 4 parts; distilled or rain water, 125 parts. Clean of grease, etc., as above, and apply the solution with a camel’s-hair pencil. Rinse off and dry in sawdust. Finally, some articles are best cleaned by immersing in hot soap suds and rubbing with a soft brush. Rinse in clear, hot water, using a soft brush to get the residual suds out of crevices. Let dry, then finish by rubbing the gilt spots or places with a soft, linen rag, or a bit of chamois.

There are some bronzes gilt with imitation gold and varnished. Where the work is well done and the gilding has not been on too long, they will deceive even the practiced eye. The deception, however, may easily be detected by touching a spot on the gilt surface with a glass rod dipped in a solution of corrosive sublimate. If the gilding is true no discoloration will occur, but if false a brown spot will be produced.

To Clean A Gas Stove.

—An easy method of removing grease spots consists in immersing the separable parts for several hours in a warm lye, heated to about 70° C. (158° F.), said lye to be made of 9 parts of caustic soda and 180 parts of water. These pieces, together with the fixed parts of the stove, may be well brushed with this lye and afterwards rinsed in clean, warm water. The grease will be dissolved, and the stove restored almost to its original state.

Cleaning Copper Sinks.

—Make rotten stone into a stiff paste with soft soap and water. Rub on with a woolen rag, and polish with dry whiting and rotten stone. Finish with a leather and dry whiting. Many of the substances and mixtures used to clean brass will effectively clean copper. Oxalic acid is said to be the best medium for cleaning copper, but after using it the surface of the copper must be well washed, dried, and then rubbed with sweet oil and tripoli, or some other polishing agent. Otherwise the metal will soon tarnish again.

Treatment Of Cast-iron Grave Crosses.

—The rust must first be thoroughly removed with a steel-wire brush. When this is done apply one or two coats of red lead or graphite paint. After this priming has become hard, paint with double-burnt lampblack and equal parts of oil of turpentine and varnish. This coating is followed by one of lampblack ground with coach varnish. Now paint the single portions with “mixtion” (gilding oil) and gild as usual. Such crosses look better when they are not altogether black. Ornaments may be very well treated in colors with oil paint and then varnished. The crosses treated in this manner are preserved for many years, but it is essential to use good exterior or coach varnish for varnishing, and not the so-called black varnish, which is mostly composed of asphalt or tar.

Cleaning Inferior Gold Articles.

—The brown film which forms on low-quality gold articles is removed by coating with fuming hydrochloric acid, whereupon they are brushed off with Vienna lime and petroleum. Finally, clean the objects with benzine, rinse again in pure benzine, and dry in sawdust.

To Clean Bronze.

—Clean the bronze with soft soap; next wash it in plenty of water; wipe, let dry, and apply light encaustic mixture composed of spirit of turpentine in which a small quantity of yellow wax has been dissolved. The encaustic is spread by means of a linen or woolen wad. For gilt bronze, add 1 spoonful of alkali to 3 spoonfuls of water and rub the article with this by means of a ball of wadding. Next wipe with a clean chamois, similar to that employed in silvering.

How To Clean Brass And Steel.

—To clean brasses quickly and economically, rub them with vinegar and salt or with oxalic acid. Wash immediately after the rubbing, and polish with tripoli and sweet oil. Unless the acid is washed off the article will tarnish quickly. Copper kettles and saucepans, brass andirons, fenders, and candlesticks and trays are best cleaned with vinegar and salt. Cooking vessels in constant use need only to be well washed afterwards. Things for show—even pots and pans—need the oil polishing, which gives a deep, rich, yellow luster, good for six months. Oxalic acid and salt should be employed for furniture brasses—if it touches the wood it only improves the tone. Wipe the brasses well with a wet cloth, and polish thoroughly with oil and tripoli. Sometimes powdered rotten stone does better than the tripoli. Rub, after using, either with a dry cloth or leather, until there is no trace of oil. The brass to be cleaned must be freed completely from grease, caked dirt, and grime. Wash with strong ammonia suds and rinse dry before beginning with the acid and salt.

The best treatment for wrought steel is to wash it very clean with a stiff brush {203} and ammonia soapsuds, rinse well, dry by heat, oil plentifully with sweet oil, and dust thickly with powdered quicklime. Let the lime stay on 2 days, then brush it off with a clean, very stiff brush. Polish with a softer brush, and rub with cloths until the luster comes out. By leaving the lime on, iron and steel may be kept from rust almost indefinitely.

Before wetting any sort of bric-a-brac, and especially bronzes, remove all the dust possible. After dusting, wash well in strong white soapsuds and ammonia, rinse clean, polish with just a suspicion of oil and rotten stone, and rub off afterwards every trace of the oil. Never let acid touch a bronze surface, unless to eat and pit it for antique effects.

Composition For Cleaning Copper, Nickel, And Other Metals.

—Wool grease, 46 parts, by weight; fire clay, 30 parts, by weight; paraffine, 5 parts, by weight; Canova wax, 5 parts, by weight; cocoanut oil, 10 parts, by weight; oil of mirbane, 1 part, by weight. After mixing these different ingredients, which constitute a paste, this is molded in order to give a cylindrical form, and introduced into a case so that it can be used like a stick of cosmetic.

Putz Pomade.

—I.—Oxalic acid, 1 part; caput mortuum, 15 parts (or, if white pomade is desired, tripoli, 12 parts); powdered pumice stone, best grade, 20 parts; palm oil, 60 parts; petroleum or oleine, 4 parts. Perfume with mirbane oil.

II.— Oxalic acid 1 part

Peroxide of iron (jewelers’ rouge) 15 parts

Rotten stone 20 parts

Palm oil 60 parts

Petrolatum 5 parts

Pulverize the acid and the rotten stone and mix thoroughly with the rouge. Sift to remove all grit, then make into a paste with the oil and petrolatum. A little nitro-benzol may be added to scent the mixture.

III.— Oleine 40 parts

Ceresine 5 parts

Tripoli 40 parts

Light mineral oil (0.870) 20 parts

Melt the oleine, ceresine, and mineral oil together, and stir in the tripoli; next, grind evenly in a paint mill.

To Clean Gummed Parts Of Machinery.

—Boil about 10 to 15 parts of caustic soda or 100 parts of soda in 1,000 parts of water, immerse the parts to be cleaned in this for some time, or, better, boil them with it. Then rinse and dry. For small shops this mode of cleaning is doubtless the best.

To Remove Silver Plating.

—I.—Put sulphuric acid 100 parts and potassium nitrate (saltpeter) 10 parts in a vessel of stoneware or porcelain, heated on the water bath. When the silver has left the copper, rinse the objects several times. This silver stripping bath may be used several times, if it is kept in a well-closed bottle. When it is saturated with silver, decant the liquid, boil it to dryness, then add the residue to the deposit, and melt in the crucible to obtain the metal.

II.—Stripping silvered articles of the silvering may be accomplished by the following mixture: Sulphuric acid, 60° B., 3 parts; nitric acid, 40° B., 1 part; heat the mixture to about 166° F., and immerse the articles by means of a copper wire. In a few seconds the acid mixture will have done the work. A thorough rinsing off is, of course, necessary.

To Clean Zinc Articles.

—In order to clean articles of zinc, stir rye bran into a paste with boiling water, and add a handful of silver sand and a little vitriol. Rub the article with this paste, rinse with water, dry, and polish with a cloth.

To Remove Rust From Nickel.

—Smear the rusted parts well with grease (ordinary animal fat will do), and allow the article to stand several days. If the rust is not thick the grease and rust may be rubbed off with a cloth dipped in ammonia. If the rust is very deep, apply a diluted solution of hydrochloric acid, taking care that the acid does not touch the metal, and the rust may be easily rubbed off. Then wash the article and polish in the usual way.

Compound For Cleaning Brass.

—To make a brass cleaning compound use oxalic acid, 1 ounce; rotten stone, 6 ounces; enough whale oil and spirits of turpentine of equal parts, to mix, and make a paste.

To Clean Gilt Objects.

—I.—Into an ordinary drinking glass pour about 20 drops of ammonia, immerse the piece to be cleaned repeatedly in this, and brush with a soft brush. Treat the article with pure water, then with alcohol, and wipe with a soft rag.

II.—Boil common alum in soft, pure water, and immerse the article in the solution, or rub the spot with it, and dry with sawdust.

III.—For cleaning picture frames, {204} moldings, and, in fact, all kinds of gilded work, the best medium is liquor potassæ, diluted with about 5 volumes of water. Dilute alcohol is also excellent. Methylated wood spirit, if the odor is not objectionable, answers admirably.

To Scale Cast Iron.

—To remove the scale from cast iron use a solution of 1 part vitriol and 2 parts water; after mixing, apply to the scale with a cloth rolled in the form of a brush, using enough to wet the surface well. After 8 or 10 hours wash off with water, when the hard, scaly surface will be completely removed.

Cleaning Funnels And Measures.

—Funnels and measures used for measuring varnishes, oils, etc., may be cleaned by soaking them in a strong solution of lye or pearlash. Another mixture for the same purpose consists of pearlash with quicklime in aqueous solution. The measures are allowed to soak in the solution for a short time, when the resinous matter of the paint or varnish is easily removed. A thin coating of petroleum lubricating oils may be removed, it is said, by the use of naphtha or petroleum benzine.

To Clean Aluminum.

—I.—Aluminum articles are very hard to clean so they will have a bright, new appearance. This is especially the case with the matted or frosted pieces. To restore the pieces to brilliancy place them for some time in water that has been slightly acidulated with sulphuric acid.

II.—Wash the aluminum with coal-oil, gasoline or benzine, then put it in a concentrated solution of caustic potash, and after washing it with plenty of water, dip it in the bath composed of / 3 nitric acid and / 3 water. Next, subject it to a bath of concentrated nitric acid, and finally to a mixture of rum and olive oil. To render aluminum capable of being worked like pure copper, / 3 of oil of turpentine and / 3 stearic acid are used. For polishing by hand, take a solution of 30 parts of borax and 1,000 parts of water, to which a few drops of spirits of ammonia have been added.

How To Clean Tarnished Silver.

—I.—If the articles are only slightly tarnished, mix 3 parts of best washed and purified chalk and 1 part of white soap, adding water, till a thin paste is formed, which should be rubbed on the silver with a dry brush, till the articles are quite bright. As a substitute, whiting, mixed with caustic ammonia to form a paste, may be used. This mixture is very effective, but it irritates the eyes and nose.

II.—An efficacious preparation is obtained by mixing beech-wood ashes, 2 parts; Venetian soap, / 100 part; cooking salt, 2 parts; rain water, 8 parts. Brush the silver with this lye, using a somewhat stiff brush.

III.—A solution of crystallized potassium permanganate has been recommended.

IV.—A grayish violet film which silverware acquires from perspiration, can be readily removed by means of ammonia.

V.—To remove spots from silver lay it for 4 hours in soapmakers’ lye, then throw on fine powdered gypsum, moisten the latter with vinegar to cause it to adhere, dry near the fire, and wipe off. Next rub the spot with dry bran. This not only causes it to disappear, but gives extraordinary gloss to the silver.

VI.—Cleaning with the usual fine powders is attended with some difficulty and inconvenience. An excellent result is obtained without injury to the silver by employing a saturated solution of hyposulphite of soda, which is put on with a brush or rag. The article is then washed with plenty of water.

VII.—Never use soap on silverware, as it dulls the luster, giving the article more the appearance of pewter than silver. When it wants cleaning, rub it with a piece of soft leather and prepared chalk, made into a paste with pure water, entirely free from grit.

To Clean Dull Gold.

—I.—Take 80 parts, by weight, of chloride of lime, and rub it up with gradual addition of water in a porcelain mortar into a thin, even paste, which is put into a solution of 80 parts, by weight, of bicarbonate of soda, and 20 parts, by weight, of salt, in 3,000 parts, by weight, of water. Shake it, and let stand a few days before using. If the preparation is to be kept for any length of time the bottle should be placed, well corked, in the cellar. For use, lay the tarnished articles in a dish, pour the liquid, which has previously been well shaken, over them so as just to cover them, and leave them therein for a few days.

II.— Bicarbonate of soda. 31 parts

Chloride of lime 15.5 parts

Cooking salt 15 parts

Water 240 parts

Grind the chloride of lime with a little water to a thin paste, in a porcelain vessel, and add the remaining chemicals. Wash the objects with the aid of a soft brush with the solution, rinse several times in water, and dry in fine sawdust. {205}

Cleaning Bronze Objects.

—Employ powdered chicory mixed with water, so as to obtain a paste, which is applied with a brush. After the brushing, rinse off and dry in the sun or near a stove.

Cleaning Gilded Bronzes.

—I.—Commence by removing the spots of grease and wax with a little potash or soda dissolved in water. Let dry, and apply the following mixture with a rag: Carbonate of soda, 7 parts; whiting, 15 parts; alcohol (85°), 50 parts; water, 125 parts. When this coating is dry pass a fine linen cloth or a piece of supple skin over it. The hollow parts are cleaned with a brush.

II.—After removing the grease spots, let dry and pass over all the damaged parts a pencil dipped in the following mixture: Alum, 2 parts; nitric acid, 65; water, 250 parts. When the gilding becomes bright, wipe, and dry in the sun or near a fire.

III.—Wash in hot water containing a little soda, dry, and pass over the gilding a pencil soaked in a liquid made of 30 parts nitric acid, 4 parts of aluminum phosphate, and 125 parts of pure water. Dry in sawdust.

IV.—Immerse the objects in boiling soap water, and facilitate the action of the soap by rubbing with a soft brush; put the objects in hot water, brush them carefully, and let them dry in the air; when they are quite dry rub the shining parts only with an old linen cloth or a soft leather, without touching the others.

Stripping Gilt Articles.

—Degilding or stripping gilt articles may be done by attaching the object to the positive pole of a battery and immersing it in a solution composed of 1 pound of cyanide dissolved in about 1 gallon of water. Desilvering may be effected in the same manner.

To Clean Tarnished Zinc.

—Apply with a rag a mixture of 1 part sulphuric acid with 12 parts of water. Rinse the zinc with clear water.

Cleaning Pewter Articles.

—Pour hot lye of wood ashes upon the tin, throw on sand, and rub with a hard, woolen rag, hat felt, or whisk until all particles of dirt have been dissolved. To polish pewter plates it is well to have the turner make similar wooden forms fitting the plates, and to rub them clean this way. Next they are rinsed with clean water and placed on a table with a clean linen cover on which they are left to dry without being touched, otherwise spots will appear. This scouring is not necessary so often if the pewter is rubbed with wheat bran after use and cleaned perfectly. New pewter is polished with a paste of whiting and brandy, rubbing the dishes with it until the mass becomes dry.

To Clean Files.

—Files which have become clogged with tin or lead are cleaned by dipping for a few seconds into concentrated nitric acid. To remove iron filings from the file cuts, a bath of blue vitriol is employed. After the files have been rinsed in water they are likewise dipped in nitric acid. File-ridges closed up by zinc are cleaned by immersing the files in diluted sulphuric acid. Such as have become filled with copper or brass are also treated with nitric acid, but here the process has to be repeated several times. The files should always be rinsed in water after the treatment, brushed with a stiff brush, and dried in sawdust or by pouring alcohol over them, and letting it burn off on the file.

Scale Pan Cleaner.

—About the quickest cleaner for brass scale pans is a solution of potassium bichromate in dilute sulphuric acid, using about 1 part of chromate, in powder, to 3 parts of acid and 6 parts of water. In this imbibe a cloth wrapped around a stick (to protect the hands), and with it rub the pans. Do this at tap or hydrant, so that no time is lost in placing the pan in running water after having rubbed it with the acid solution. For pans not very badly soiled rubbing with ammonia water and rinsing is sufficient.

Tarnish On Electro-plate Goods.

—This tarnish can be removed by dipping the article for from 1 to 15 minutes—that is, until the tarnish shall have been removed—in a pickle of the following composition: Rain water 2 gallons and potassium cyanide / 2 pound. Dissolve together, and fill into a stone jug or jar, and close tightly. The article, after having been immersed, must be taken out and thoroughly rinsed in several waters, then dried with fine, clean sawdust. Tarnish on jewelry can be speedily removed by this process; but if the cyanide is not completely removed it will corrode the goods.

Oil-, Grease-, Paint-spot Eradicators:

Grease- and Paint-spot Eradicators.—

I.— Benzol 500 parts

Benzine 500 parts

Soap, best white, shaved 5 parts

Water, warm, sufficient.

{206}

Dissolve the soap in the warm water, using from 50 to 60 parts. Mix the benzol and benzine, and add the soap solution, a little at a time, shaking up well after each addition. If the mixture is slow in emulsifying, add at one time from 50 to 100 parts of warm water, and shake violently. Set the emulsion aside for a few days, or until it separates, then decant the superfluous water, and pour the residual pasty mass, after stirring it up well, into suitable boxes.

II.— Soap spirit 100 parts

Ammonia solution, 10 per cent 25 parts

Acetic ether 15 parts

III.— Extract of quillaia 1 part

Borax 1 part

Ox gall, fresh 6 parts

Tallow soap 15 parts

Triturate the quillaia and borax together, incorporate the ox gall, and, finally, add the tallow soap and mix thoroughly by kneading. The product is a plastic mass, which may be rolled into sticks or put up into boxes.

Removing Oil Spots From Leather.

—To remove oil stains from leather, dab the spot carefully with spirits of sal ammoniac, and after allowing it to act for a while, wash with clean water. This treatment may have to be repeated a few times, taking care, however, not to injure the color of the leather. Sometimes the spot may be removed very simply by spreading the place rather thickly with butter and letting this act for a few hours. Next scrape off the butter with the point of a knife, and rinse the stain with soap and lukewarm water.

To Clean Linoleum.

—Rust spots and other stains can be removed from linoleum by rubbing with steel chips.

To Remove Putty, Grease, Etc., From Plate Glass.

—To remove all kinds of greasy materials from glass, and to leave the latter bright and clean, use a paste made of benzine and burnt magnesia of such consistence that when the mass is pressed between the fingers a drop of benzine will exude. With this mixture and a wad of cotton, go over the entire surface of the glass, rubbing it well. One rubbing is usually sufficient. After drying, any of the substance left in the corners, etc., is easily removed by brushing with a suitable brush. The same preparation is very useful for cleaning mirrors and removing grease stains from books, papers, etc.

Removing Spots From Furniture.

—White spots on polished tables are removed in the following manner: Coat the spot with oil and pour on a rag a few drops of “mixtura balsamica oleosa,” which can be bought in every drug store, and rub on the spot, which will disappear immediately.

To Remove Spots From Drawings, Etc.

—Place soapstone, fine meerschaum shavings, amianthus, or powdered magnesia on the spot, and, if necessary, lay on white filtering paper, saturating it with peroxide of hydrogen. Allow this to act for a few hours, and remove the application with a brush. If necessary, repeat the operation. In this manner black coffee spots were removed from a valuable diagram without erasure by knife or rubber.

Watchmakers’ And Jewelers’ Cleaning Preparations:

To Clean The Tops Of Clocks In Repairing.

—Sprinkle whiting on the top. Pour good vinegar over this and rub vigorously. Rinse in clean water and dry slowly in the sun or at the fire. A good polish will be obtained.

To Clean Watch Chains.

—Gold or silver watch chains can be cleaned with a very excellent result, no matter whether they be matt or polished, by laying them for a few seconds in pure aqua ammonia; they are then rinsed in alcohol, and finally shaken in clean sawdust, free from sand. Imitation gold and plated chains are first cleaned in benzine, then rinsed in alcohol, and afterwards shaken in dry sawdust. Ordinary chains are first dipped in the following pickle: Pure nitric acid is mixed with concentrated sulphuric acid in the proportion of 10 parts of the former to 2 parts of the latter; a little table salt is added. The chains are boiled in this mixture, then rinsed several times in water, afterwards in alcohol, and finally dried in sawdust.

Cleaning Brass Mountings On Clock Cases, Etc.

—The brass mountings are first cleaned of dirt by dipping them for a short time into boiling soda lye, and next are pickled, still warm, if possible, in a mixture consisting of nitric acid, 60 parts; sulphuric acid, 40 parts; cooking salt, 1 part; and shining soot (lampblack), / 2 part, whereby they acquire a handsome golden-yellow coloring. The pickling mixture, however, must not be employed immediately after pouring together the acids, which causes a strong generation of heat, but should settle for at least {207} 1 day. This makes the articles handsomer and more uniform. After the dipping the objects are rinsed in plenty of clean water and dried on a hot, iron plate, and at the same time warmed for lacquering. Since the pieces would be lacquered too thick and unevenly in pure gold varnish, this is diluted with alcohol, 1 part of gold varnish sufficing for 10 parts of alcohol. Into this liquid dip the mountings previously warmed and dry them again on the hot plate.

Gilt Zinc Clocks.

—It frequently happens that clocks of gilt zinc become covered with green spots. To remove such spots the following process is used: Soak a small wad of cotton in alkali and rub it on the spot. The green color will disappear at once, but the gilding being gone, a black spot will remain. Wipe off well to remove all traces of the alkali. To replace the gilding, put on, by means of liquid gum arabic, a little bronze powder of the color of the gilding. The powdered bronze is applied dry with the aid of a brush or cotton wad. When the gilding of the clock has become black or dull from age, it may be revived by immersion in a bath of cyanide of potassium, but frequently it suffices to wash it with a soft brush in soap and water, in which a little carbonate of soda has been dissolved. Brush the piece in the lather, rinse in clean water, and dry in rather hot sawdust. The piece should be dried well inside and outside, as moisture will cause it to turn black.

To Clean Gummed Up Springs.

—Dissolve caustic soda in warm water, place the spring in the solution and leave it there for about one half hour. Any oil still adhering may now easily be taken off with a hard brush; next, dry the spring with a clean cloth. In this manner gummed up parts of tower clocks, locks, etc., may be quickly and thoroughly cleaned, and oil paint may be removed from metal or wood. The lye is sharp, but free from danger, nor are the steel parts attacked by it.

To Clean Soldered Watch Cases.

—Gold, silver, and other metallic watch cases which in soldering have been exposed to heat, are laid in diluted sulphuric acid (1 part acid to 10 to 15 parts water), to free them from oxide. Heating the acid accelerates the cleaning process. The articles are then well rinsed in water and dried. Gold cases are next brushed with powdered tripoli moistened with oil, to remove the pale spots caused by the heat and boiling, and to restore the original color. After that they are cleaned with soap water and finally polished with rouge. Silver cases are polished after boiling, with a scratch brush dipped in beer.

A Simple Way To Clean A Clock.

—Take a bit of cotton the size of a hen’s egg, dip it in kerosene and place it on the floor of the clock, in the corner; shut the door of the clock, and wait 3 or 4 days. The clock will be like a new one—and if you look inside you will find the cotton batting black with dust. The fumes of the oil loosen the particles of dust, and they fall, thus cleaning the clock.

To Restore The Color Of A Gold Or Gilt Dial.

—Dip the dial for a few seconds in the following mixture: Half an ounce of cyanide of potassium is dissolved in a quart of hot water, and 2 ounces of strong ammonia, mixed with / 2 an ounce of alcohol, are added to the solution. On removal from this bath, the dial should immediately be immersed in warm water, then brushed with soap, rinsed, and dried in hot boxwood dust. Or it may simply be immersed in dilute nitric acid; but in this case any painted figures will be destroyed.

A Bath For Cleaning Clocks.

—In an enameled iron or terra-cotta vessel pour 2,000 parts of water, add 50 parts of scraped Marseilles soap, 80 to 100 parts of whiting, and a small cup of spirits of ammonia. To hasten the process of solution, warm, but do not allow to boil.

If the clock is very dirty or much oxidized, immerse the pieces in the bath while warm, and as long as necessary. Take them out with a skimmer or strainer, and pour over them some benzine, letting the liquid fall into an empty vessel. This being decanted and bottled can be used indefinitely for rinsing.

If the bath has too much alkali or is used when too hot, it may affect the polish and render it dull. This may be obviated by trying different strengths of the alkali. Pieces of blued steel are not injured by the alkali, even when pure.

To Remove A Figure Or Name From A Dial.

—Oil of spike lavender may be employed for erasing a letter or number. Enamel powder made into a paste with water, oil, or turpentine is also used for this purpose. It should be previously levigated so as to obtain several degrees of fineness. The powder used for repolishing the surface, where an impression has been removed, must be extremely fine. It is applied with a piece of {208} pegwood or ivory. The best method is to employ diamond powder. Take a little of the powder, make into a paste with fine oil, on the end of a copper polisher the surface of which has been freshly filed and slightly rounded. The marks will rapidly disappear when rubbed with this. The surface is left a little dull; it may be rendered bright by rubbing with the same powder mixed with a greater quantity of oil, and applied with a stick of pegwood. Watchmakers will do well to try on disused dials several degrees of fineness of the diamond powder.

Cleaning Pearls.

—Pearls turn yellow in the course of time by absorbing perspiration on account of being worn in the hair, at the throat, and on the arms. There are several ways of rendering them white again.

I.—The best process is said to be to put the pearls into a bag with wheat bran and to heat the bag over a coal fire, with constant motion.

II.—Another method is to bring 8 parts each of well-calcined, finely powdered lime and wood charcoal, which has been strained through a gauze sieve, to a boil with 500 parts of pure rain water, suspend the pearls over the steam of the boiling water until they are warmed through, and then boil them in the liquid for 5 minutes, turning frequently. Let them cool in the liquid, take them out, and wash off well with clean water.

III.—Place the pearls in a piece of fine linen, throw salt on them, and tie them up. Next rinse the tied-up pearls in lukewarm water until all the salt has been extracted, and dry them at an ordinary temperature.

IV.—The pearls may also be boiled about / 4 hour in cow’s milk into which a little cheese or soap has been scraped; take them out, rinse off in fresh water, and dry them with a clean, white cloth.

V.—Another method is to have the pearls, strung on a silk thread or wrapped up in thin gauze, mixed in a loaf of bread of barley flour and to have the loaf baked well in an oven, but not too brown. When cool remove the pearls.

VI.—Hang the pearls for a couple of minutes in hot, strong, wine vinegar or highly diluted sulphuric acid, remove, and rinse them in water. Do not leave them too long in the acid, otherwise they will be injured by it.

Glass Cleaning:

Cleaning Preparation For Glass With Metal Decorations.

—Mix 1,000 parts of denaturized spirit (96 per cent) with 150 parts, by weight, of ammonia; 20 parts of acetic ether; 15 parts of ethylic ether; 200 parts of Vienna lime; 950 parts of bolus; and 550 parts of oleine. With this mixture both glass and metal can be quickly and thoroughly cleaned. It is particularly recommended for show windows ornamented with metal.

Paste For Cleaning Glass.—

Prepared chalk 6 pounds

Powdered French chalk 1 / 2 pounds

Phosphate calcium 2 / 4 pounds

Quillaia bark 2 / 4 pounds

Carbonate ammonia 18 ounces

Rose pink 6 ounces

Mix the ingredients, in fine powder, and sift through muslin. Then mix with soft water to the consistency of cream, and apply to the glass by means of a soft rag or sponge; allow it to dry on, wipe off with a cloth, and polish with chamois.

Cleaning Optical Lenses.

—For this purpose a German contemporary recommends vegetable pith. The medulla of rushes, elders, or sunflowers is cut out, the pieces are dried and pasted singly alongside of one another upon a piece of cork, whereby a brush-like apparatus is obtained, which is passed over the surface of the lens. For very small lenses pointed pieces of elder pith are employed. To dip dirty and greasy lenses into oil of turpentine or ether and rub them with a linen rag, as has been proposed, seems hazardous, because the Canada balsam with which the lenses are cemented might dissolve.

To Remove Glue From Glass.

—If glue has simply dried upon the glass hot water ought to remove it. If, however, the spots are due to size (the gelatinous wash used by painters) when dried they become very refractory and recourse must be had to chemical means for their removal. The commonest size being a solution of gelatin, alum, and rosin dissolved in a solution of soda and combined with starch, hot solutions of caustic soda or of potash may be used. If that fails to remove them, try diluted hydrochloric, sulphuric, or any of the stronger acids. If the spots still remain some abrasive powder (flour of emery) must be used and the glass repolished with jewelers’ rouge applied by means of a chamois skin. Owing to the varied nature of sizes used the above are only suggestions.

Cleaning Window Panes.

—Take diluted nitric acid about as strong as strong {209} vinegar and pass it over the glass pane, leave it to act a minute and throw on pulverized whiting, but just enough to give off a hissing sound. Now rub both with the hand over the whole pane and polish with a dry rag. Rinse off with clean water and a little alcohol and polish dry and clear. Repeat the process on the other side. The nitric acid removes all impurities which have remained on the glass at the factory, and even with inferior panes a good appearance is obtained.

To Clean Store Windows.

—For cleaning the large panes of glass of store windows, and also ordinary show cases, a semiliquid paste may be employed, made of calcined magnesia and purified benzine. The glass should be rubbed with a cotton rag until it is brilliant.

Cleaning Lamp Globes.

—Pour 2 spoonfuls of a slightly heated solution of potash into the globe, moisten the whole surface with it, and rub the stains with a fine linen rag; rinse the globe with clean water and carefully dry it with a fine, soft cloth.

To Clean Mirrors.

—Rub the mirror with a ball of soft paper slightly dampened with methylated spirits, then with a duster on which a little whiting has been sprinkled, and finally polish with clean paper or a wash leather. This treatment will make the glass beautifully bright.

To Clean Milk Glass.

—To remove oil spots from milk glass panes and lamp globes, knead burnt magnesia with benzine to a plastic mass, which must be kept in a tight-closing bottle. A little of this substance rubbed on the spot with a linen rag will make it disappear.

To Remove Oil-paint Spots From Glass.

—If the window panes have been bespattered with oil paint in painting walls, the spots are, of course, easily removed while wet. When they have become dry the operation is more difficult and alcohol and turpentine in equal parts, or spirit of sal ammoniac should be used to soften the paint. After that go over it with chalk. Polishing with salt will also remove paint spots. The salt grates somewhat, but it is not hard enough to cause scratches in the glass; a subsequent polishing with chalk is also advisable, as the drying of the salt might injure the glass. For scratching off soft paint spots sheet zinc must be used, as it cannot damage the glass on account of its softness. In the case of silicate paints (the so-called weather-proof coatings) the panes must be especially protected, because these paints destroy the polish of the glass. Rubbing the spots with brown soap is also a good way of removing the spots, but care must be taken in rinsing off that the window frames are not acted upon.

Removing Silver Stains.

—The following solution will remove silver stains from the hands, and also from woolen, linen, or cotton goods:

Mercuric chloride 1 part

Ammonia muriate 1 part

Water 8 parts

The compound is poisonous.

Miscellaneous Cleaning Methods And Processes:

Universal Cleaner.—

Green soap 20 to 25 parts

Boiling water 750 parts

Liquid ammonia, caustic 30 to 40 parts

Acetic ether 20 to 30 parts

Mix.

To Clean Playing Cards.

—Slightly soiled playing cards may be made clean by rubbing them with a soft rag dipped in a solution of camphor. Very little of the latter is necessary.

To Remove Vegetable Growth From Buildings.

—To remove moss and lichen from stone and masonry, apply water in which 1 per cent of carbolic acid has been dissolved. After a few hours the plants can be washed off with water.

Solid Cleansing Compound.

—The basis of most of the solid grease eradicators is benzine and the simplest form is a benzine jelly made by shaking 3 ounces of tincture of quillaia (soap bark) with enough benzine to make 16 fluidounces. Benzine may also be solidified by the use of a soap with addition of an excess of alkali. Formulas in which soaps are used in this way follow:

I.— Cocoanut-oil soap. 2 av. ounces

Ammonia water 3 fluidounces

Solution of potassium 1 / 2 fluidounces

Water enough to make 12 fluidounces

Dissolve the soap with the aid of heat in 4 fluidounces of water, add the ammonia and potassa and the remainder of the water.

If the benzine is added in small portions, and thoroughly agitated, 2 / 2 fluidounces of the above will be found sufficient to solidify 32 fluidounces of benzine. {210}

II.— Castile soap, white 3 / 2 av. ounces

Water, boiling 3 / 2 fluidounces

Water of ammonia 5 fluidrachms

Benzine enough to make 16 fluidounces

Dissolve the soap in the water, and when cold, add the other ingredients.

To Clean Oily Bottles.

—Use 2 heaped ta­ble­spoon­fuls (for every quart of capacity) of fine sawdust or wheat bran, and shake well to cover the interior surface thoroughly; let stand a few minutes and then add about a gill of cold water. If the bottle be then rotated in a horizontal position, it will usually be found clean after a single treatment. In the case of drying oils, especially when old, the bottles should be moistened inside with a little ether, and left standing a few hours before the introduction of sawdust. This method is claimed to be more rapid and convenient than the customary one of using strips of paper, soap solution, etc.

Cork Cleaner.

—Wash in 10 per cent solution of hydrochloric acid, then immerse in a solution of sodium hyposulphite and hydrochloric acid. Finally the corks are washed with a solution of soda and pure water. Corks containing oil or fat cannot be cleaned by this method.

To Clean Sponges.

—Rinse well first in very weak, warm, caustic-soda lye, then with clean water, and finally leave the sponges in a solution of bromine in water until clean. They will whiten sooner if exposed to the sun in the bromine water. Then repeat the rinsings in weak lye and clean water, using the latter till all smell of bromine has disappeared. Dry quickly and in the sun if possible.

CLEARING BATHS: See Photography.

CLICHÉ METALS: See Alloys.

CLOCK-DIAL LETTERING: See Watchmakers’ Formulas.

CLOCK-HAND COLORING: See Metals.

CLOCK OIL: See Oil.

CLOCK REPAIRING: See Watchmaking.

CLOCKMAKERS’ CLEANING PROCESSES: See Cleaning Preparations and Methods.

CLOTH TO IRON, GLUEING: See Adhesives.

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

CLOTHS FOR POLISHING: See Polishes.

CLOTH, WATERPROOFING: See Waterproofing.

CLOTHING, CARE OF: See Household Formulas.

COACH VARNISH: See Varnishes.

COALS, TO EAT BURNING: See Pyrotechnics.

COAL OIL: See Oil.

COBALTIZING: See Plating.

COCOAS: See Beverages.

COCOA CORDIAL: See Wines and Liquors.

COCOANUT CAKE: See Household Formulas and Recipes.

COCHINEAL INSECT REMEDY: See Insecticides.

COD-LIVER OIL AND ITS EMULSION: See Oil, Cod-Liver.

Coffee, Substitutes for.

I.—Acorn.—From acorns deprived of their shells, husked, dried, and roasted.

II.—Bean.—Horse beans roasted along with a little honey or sugar.

III.—Beet Root.—From the yellow beet root, sliced, dried in a kiln or oven, and ground with a little coffee.

IV.—Dandelion.—From dandelion roots, sliced, dried, roasted, and ground with a little caramel.

All the above are roasted, before grinding them, with a little fat or lard. Those which are larger than coffee berries are cut into small slices before being roasted. They possess none of the exhilarating properties or medicinal virtues of the genuine coffee.

V.—Chicory.—This is a common adulterant. The roasted root is prepared by cutting the full-grown root into slices, and exposing it to heat in iron cylinders, along with about 1 / 2 per cent or 2 per cent of lard, in a similar way to that adopted for coffee. When ground to powder in a mill it constitutes the {211} chicory coffee so generally employed both as a substitute for coffee and as an adulterant. The addition of 1 part of good, fresh, roasted chicory to 10 or 12 parts of coffee forms a mixture which yields a beverage of a fuller flavor, and of a deeper color than that furnished by an equal quantity of pure or unmixed coffee. In this way a less quantity of coffee may be used, but it should be remembered that the article substituted for it does not possess in any degree the peculiar exciting, soothing, and hunger-staying properties of that valuable product. The use, however, of a larger proportion of chicory than that just named imparts to the beverage an insipid flavor, intermediate between that of treacle and licorice; while the continual use of roasted chicory, or highly chicorized coffee, seldom fails to weaken the powers of digestion and derange the bowels.

COFFEE CORDIAL: See Wines and Liquors.

COFFEE EXTRACTS: See Essences and Extracts.

COFFEE SYRUPS: See Syrups.

COFFEE FOR THE SODA FOUNTAIN: See Beverages.

COIL SPRING: See Steel.

COIN CLEANING: See Cleaning Preparations and Methods.

COINS, IMPRESSIONS OF: See Matrix Mass.

COIN METAL: See Alloys.

COLAS: See Veterinary Formulas.

Cold and Cough Mixtures

Cough Syrup.

—The simplest form of cough syrup of good keeping quality is syrup of wild cherry containing ammonium chloride in the dose of 2 / 2 grains to each teaspoonful. Most of the other compounds contain ingredients that are prone to undergo fermentation.

I.— Ipecacuanha wine 1 fluidounce

Spirit of anise 1 fluidrachm

Syrup 16 fluidounces

Syrup of squill 8 fluidounces

Tincture of Tolu 4 fluidrachms

Distilled water enough to make 30 fluidounces

II.— Heroin 6 grains

Aromatic sulphuric acid 1 / 2 fluidounces

Concentrated acid infusion of roses 4 fluidounces

Distilled water 5 fluidounces

Glycerine 5 fluidounces

Oxymel of squill 10 fluidounces

III.— Glycerine 2 fluidounces

Fluid extract of wild cherry 4 fluidounces

Oxymel 10 fluidounces

Syrup 10 fluidounces

Cochineal, a sufficient quantity.

Benzoic-acid Pastilles.—

Benzoic acid 105 parts

Rhatany extract 525 parts

Tragacanth 35 parts

Sugar 140 parts

The materials, in the shape of powders, are mixed well and sufficient fruit paste added to bring the mass up to 4,500 parts. Roll out and divide into lozenges weighing 20 grains each.

Cough Balsam With Iceland Moss.—

Solution of morphine acetate 12 parts

Sulphuric acid, dilute 12 parts

Cherry-laurel water 12 parts

Orange-flower water, triple 24 parts

Syrup, simple 128 parts

Glycerine 48 parts

Tincture of saffron 8 parts

Decoction of Iceland moss 112 parts

Mix. Dose: One teaspoonful.

Balsamic Cough Syrup.—

Balsam of Peru 2 drachms

Tincture of Tolu 4 drachms

Camphorated tincture of opium 4 ounces

Powdered extract licorice 1 ounce

Syrup squill 4 ounces

Syrup dextrine (glucose) sufficient to make 16 ounces

Add the balsam of Peru to the tinctures, and in a mortar rub up the extract of licorice with the syrups. Mix together and direct to be taken in teaspoonful doses.

Whooping-cough Remedies.

—The following mixture is a spray to be used {212} in the sick room in cases of whooping cough:

Thymol 1.0

Tincture of eucalyptus 30.0

Tincture of benzoin 30.0

Alcohol 100.0

Water enough to make 1000.0

Mix. Pour some of the mixture on a cloth and hold to mouth so that the mixture is inhaled, thereby giving relief.

Expectorant Mixtures.—

I.— Ammon. chloride 1 drachm

Potass. chlorate 30 grains

Paregoric 2 fluidrachms

Syrup of ipecac 2 fluidrachms

Syrup wild cherry enough to make 2 fluidounces

Dose: One teaspoonful.

II.— Potass. chlorate 1 drachm

Tincture guaiac 3 / 2 drachms

Tincture rhubarb 1 / 2 drachms

Syrup wild cherry enough to make 3 fluidounces

Dose: One teaspoonful.

Eucalyptus Bonbons For Coughs.—

Eucalyptus oil 5 parts

Tartaric acid 15 parts

Extract of malt 24 parts

Cacao 100 parts

Peppermint oil 1.4 parts

Bonbon mass 2,203 parts

Mix and make into bonbons weighing 30 grains each.

COLD CREAM: See Cosmetics.

COLIC IN CATTLE: See Veterinary Formulas.

Collodion.

Turpentine 5 parts

Ether and alcohol 10 parts

Collodion 94 parts

Castor oil 1 part

Dissolve the turpentine in the ether and alcohol mixture (in equal parts) and filter, then add to the mixture of collodion and castor oil. This makes a good elastic collodion.

See also Court Plaster, Liquid.

COLOGNE: See Perfumes.

COLOGNE FOR HEADACHES: See Headaches.

COLORS: See Dyes and Pigments.

COLORS, FUSIBLE ENAMEL: See Enameling.

COLORS FOR PAINTS: See Paint.

COLOR PHOTOGRAPHY: See Photography.

COLORS FOR SYRUPS: See Syrups.

CONCRETE: See Stone, Artificial.

Condiments

Chowchow.—

Curry powder 4 ounces

Mustard powder 6 ounces

Ginger 3 ounces

Turmeric 2 ounces

Cayenne 2 drachms

Black pepper powder 2 drachms

Coriander 1 drachm

Allspice 1 drachm

Mace 30 grains

Thyme 30 grains

Savory 30 grains

Celery seed 2 drachms

Cider vinegar 2 gallons

Mix all the powders with the vinegar, and steep the mixture over a very gentle fire for 3 hours. The pickles are to be parboiled with salt, and drained, and the spiced vinegar, prepared as above, is to be poured over them while it is still warm. The chowchow keeps best in small jars, tightly covered.

Essence Of Extract Of Soup Herbs.

—Thyme, 4 ounces; winter savory, 4 ounces; sweet marjoram, 4 ounces; sweet basil, 4 ounces; grated lemon peel, 1 ounce; eschalots, 2 ounces; bruised celery seed, 1 ounce; alcohol (50 per cent), 64 ounces. Mix the vegetables, properly bruised, add the alcohol, close the container and set aside in a moderately warm place to digest for 15 days. Filter and press out. Preserve in 4-ounce bottles, well corked.

Tomato Bouillon Extract.

—Tomatoes, 1 quart; arrowroot, 2 ounces; extract of beef, 1 ounce; bay leaves, 1 ounce; cloves, 2 ounces; red pepper, 4 drachms; Worcestershire sauce, quantity sufficient to flavor. Mix.

Mock Turtle Extract.

—Extract of beef, 2 ounces; concentrated chicken, 2 ounces; clam juice, 8 ounces; tincture of black pepper, 1 ounce; extract of celery, 3 drachms; extract of orange peel, soluble, 1 drachm; hot water enough to make 2 quarts. {213}

Relishes:

Digestive Relish.—