Henley's Twentieth Century Formulas, Recipes and Processes

HENLEY’S BOOK OF RECIPES (continued 17)

Reading edition

FURNACE JACKET.

A piece of asbestos millboard—10 inches by 4 inches by ³/₈ inch—is perforated in about a dozen or more places with glycerined cork borers, then nicked about an inch from each short end and immersed in water until saturated; next the board is bent from the nicks at right angles and the perforated portion shaped by bending it over a bottle with as little force as possible. The result should be a perforated arched tunnel, resting on narrow horizontal ledges at each side. Dry this cover in the furnace, after setting it in position, and pressing it well to the supports. Three such covers, weighing 1 pound, replaced 24 fire clay tiles, weighing 13 pounds, and a higher temperature was obtained than with the latter.

FURNITURE CLEANERS: See Cleaning Preparations and Methods.

FURNITURE, ITS DECORATION: See Wood.

FURNITURE ENAMEL: See Varnishes.

FURNITURE POLISHES: See Polishes.

FURNITURE WAX: See Waxes.

FUSES: See Pyrotechnics.

FUSES FOR ELECTRICAL CIRCUITS: See Alloys.

FUNNELS, TO CLEAN: See Cleaning Preparations and Methods.

GALVANIZED PAPER: See Paper, Metallic.

GAMBOGE STAIN: See Lacquers.

GAPES IN POULTRY: See Veterinary Formulas.

GARANCINE PROCESS: See Dyes.

GARDENS, CHEMICAL:

GELATIN:

French Gelatin.

—Gelatin is derived from two sources, the parings of skins, hides, etc., and from bones. The latter are submitted to the action of dilute hydrochloric acid for several days, which attacks the inorganic matters—carbonates, phosphates, etc., and leaves the ossein, which is, so to say, an isomer of the skin substance. The skin, parings of hide, etc., gathered from the shambles, butcher shops, etc., are brought into the factory, and if not ready for immediate use are thrown into quicklime, which preserves them for the time being. From the lime, after washing, they pass into dilute acid, which removes the last traces of lime, and are now ready for the treatment that is to furnish the pure gelatin. The ossein from bones goes through the same stages of treatment, into lime, washed and laid in dilute acid again. From the acid bath the material goes into baths of water maintained at a temperature not higher than from 175° to 195° F.

The gelatin manufacturer buys from the button-makers and manufacturers of knife handles and bone articles generally, those parts of the bone that they cannot use, some of which are pieces 8 inches long by a half inch thick.

Bones gathered by the ragpickers furnish the strongest glue. The parings of skin, hide, etc., are from those portions of bullock hides, calf skins, etc., that cannot be made use of by the tanner, the heads, legs, etc.

The gelatin made by Coignet for the Pharmacie Centrale de France is made from skins procured from the tawers of Paris, who get it directly from the abattoirs, which is as much as to say that the material is guaranteed fresh and healthy, since these institutions are under rigid inspection and surveillance of government inspectors and medical men.

There is a gelatin or glue, used exclusively for joiners, inside carpenters, and ceiling makers (plafonneurs), called rabbit vermicelli, and derived from rabbit skins. As the first treatment of these skins is to saturate them with mercury bichloride, it is needless to say the product is not employed in pharmacy. {370}

To Clarify Solutions Of Gelatin, Glues, Etc.

—If 1 per cent of ammonium fluoride be added to turbid solutions of gelatin or common glue, or, in fact, of any gums, it quickly clarifies them. It causes a deposition of ligneous matter, and also very materially increases the adhesive power of such solutions.

Air Bubbles In Gelatin.

—The presence of minute air bubbles in cakes of commercial gelatin often imparts to them an unpleasant cloudy appearance. These minute air bubbles are the result of the rapid, continuous process of drying the sheets of gelatin by a counter-current of hot air. Owing to the rapid drying a hard skin is formed on the outside of the cake, leaving a central layer from which the moisture escapes only with difficulty, and in which the air bubbles remain behind. Since the best qualities of gelatin dry most rapidly, the presence of these minute bubbles is, to a certain extent, an indication of superiority, and they rarely occur in the poorer qualities of gelatin. If dried slowly in the old way gelatin is liable to be damaged by fermentation; in such cases large bubbles of gas are formed in the sheets, and are a sign of bad quality.

GEMS, ARTIFICIAL:

GLASS

Bent Glass.

—This was formerly used for show cases; its use in store fronts is becoming more and more familiar, large plates being bent for this purpose. It is much used in the construction of dwellings, in windows, or rounded corners, and in towers; in coach fronts and in rounded front china closets. Either plain glass or beveled glass may be bent, and to any curve.

The number of molds required in a glass-bending establishment is large.

The bending is done in a kiln. Glass melts at 2,300° F.; the heat employed in bending is 1,800° F. No pyrometer would stand long in that heat, so the heat of the kiln is judged from the color of the flame and other indications. Smaller pieces of glass are put into the molds in the kilns with forks made for the purpose. The great molds used for bending large sheets of glass are mounted on cars, that may be rolled in and out of kilns. The glass is laid upon the top of the mold or cavity, and is bent by its own weight. As it is softened by the heat it sinks into the mold and so is bent. It may take an hour or two to bend the glass, which is then left in the kiln from 24 to 36 hours to anneal and cool. Glass of any kind or size is put into the kilns in its finished state; the great heat to which it is subjected does not disturb the polished surface. Despite every precaution more or less glass is broken in bending. Bent glass costs about 50 per cent more than the flat.

The use of bent glass is increasing, and there are 4 or 5 glass-bending establishments in the United States, of which one is in the East.

Colored Glass.

—R. Zsigmondy has made some interesting experiments in coloring glass with metallic sulphides, such as molybdenite, and sulphides of antimony, copper, bismuth, and nickel. Tests made with batches of 20 to 40 pounds and with a heat not too great, give good results as follows:

Sand, 65 parts; potash, 15 parts; soda, 5 parts; lime, 9 parts; molybdenite, 3 parts; sulphide of sodium, 2 parts, gave a dark reddish-brown glass. In thinner layers this glass appeared light brownish yellow. Flashed with opal, it became a smutty black brown.

Sand, 50 parts; potash, 15 parts; soda, 5 parts; lime, 9 parts; molybdenite, 1 part; sulphide of sodium, 2 parts, gave a yellow glass.

Sand, 10 parts; potash, 3.3 parts; soda, 0.27 parts; lime, 1.64 parts; molybdenite, 0.03 parts, gave a reddish-yellow glass with a fine tinge of red.

Sand, 100 parts; potash, 26 parts; soda, 108 parts; lime, 12 parts; sulphide of copper, 1.7 parts; sulphide of sodium, 2.3 parts, gave a dark-brown color, varying from sepia to sienna. In thick layers it was no longer transparent, but still clear and unclouded. When heated this glass became smutty black brown and clouded.

A fine copper red was obtained from sand, 10 parts; potash, 3 parts; lime, 1.2 parts; soda, 0.25 parts; sulphide of copper, 7.5 parts; sulphide of sodium, 10.5 parts; borax, 9.5 parts.

Attempts to color with sulphides of antimony and bismuth failed. But the addition of 7 per cent of sulphide of nickel to an ordinary batch gave a glass of fine amethyst color.

Coloring Electric-light Bulbs And Globes.

—Two substances suggest themselves as excellent vehicles of color, and both water soluble—water glass (potassium or sodium silicate) and gelatin. For tinting, water-soluble aniline colors should be tried. The thickness of the solution must be a matter of experimentation. Prior to dipping the globes they should be made as free as possible from all grease, dirt, etc. The gelatin solution should not be so thick that any appreciable layer of it will form on the surface of the glass, and to prevent cracking, some non-drying material should be added to it, say glycerine.

Rose-tint Glass.

—Selenium is now used for coloring glass. Rose-tinted glass is made by adding selenium directly to the ingredients in the melting pot. By mixing first with cadmium sulphide, orange red is produced. This process is stated not to require the reheating of the glass and its immersion in the coloring mixture, as in the ordinary process of making red glass.

Cutting, Drilling, Grinding, And Shaping Glass:

To Cut Glass.—I.—Glass may be cut without a diamond. Dip a piece of {372} common string in alcohol and squeeze it reasonably dry. Then tie the string tightly around the glass on the line of cutting. Touch a match to the string and let it burn off. The heat of the burning string will weaken the glass in this particular place. While it is hot plunge the glass under water, letting the arm go well under to the elbow, so there will be no vibration when the glass is struck. With the free hand strike the glass outside the line of cutting, giving a quick, sharp stroke with a stick of wood, a long-bladed knife, or the like, and the cut will be as clean and straight as if made by a regular glass cutter.

The same principle may be employed to cut bottles into vases, and to form all sorts of pretty things, such as jewelry boxes, picture panes, trays, small tablets, windows for a doll house, etc.

II.—Scratch the glass around the shape you desire with the corner of a file or graver; then, having bent a piece of wire into the same shape, heat it red hot and lay it upon the scratch and sink the glass into cold water just deep enough for the water to come almost on a level with its upper surface. It will rarely fail to break perfectly true.

To Cut Glass Under Water.—It is possible to cut a sheet of glass roughly to any desired shape with an ordinary pair of scissors, if the operation be performed under water. Of course, a smooth edge cannot be obtained by such means, but it will be found satisfactory.

Drilling, Shaping, And Filing Glass.—Take any good piece of steel wire, file to the shape of a drill, and then hold it in a flame till it is at a dull red heat; then quench in metallic mercury. A piece of good steel, thus treated, will bore through glass almost as easily as through soft brass. In use, lubricate with oil of turpentine in which camphor has been dissolved. When the point of the drill has touched the other side put the glass in water, and proceed with the drilling very slowly. If not possible to do this, reverse the work—turn the glass over and drill, very carefully, from the opposite side. By proceeding with care you can easily drill three holes through glass ³/₁₆ inch thick ¹/₄ of an inch apart. In making the drill be careful not to make the point and the cutting edges too acute. The drill cuts more slowly, but more safely, when the point and cutting edges are at a low angle.

To Make Holes In Thin Glass.—To produce holes in panes of thin or weak glass, provide the places to be perforated with a ring of moist loam, whose center leaves free a portion of glass exactly the size of the desired hole. Pour molten lead into the ring, and the glass and lead will fall through at once. This process is based upon the rapid heating of the glass.

To Grind Glass.—For the grinding of glass, iron, or steel laps and fine sand are first used; after that, the sand is replaced by emery. Then the polishing is started with pure lead or pure tin laps, and finished with willow wood laps. The polishing powder is tin putty, but peroxide of iron or dioxide of tin is a good polishing medium.

Pohl asserts that if glass is polished with crocus (Paris red) it appears of a dark or a yellowish-brown tint. He contends that the crocus enters the pores of the glass, and, to prevent this, he uses zinc white with the most satisfactory results.

A Home-made Outfit For Grinding Glass.—Provide two pieces of cork, one concave and one convex (which may be cut to shape after fitting to the lathe). Take a copper cent or other suitable article and soft-solder a screw to fit the lathe, and then wax it to the cork; get a cheap emery wheel, such as is used on sewing machines. Polish the edge on the zinc collar of the emery wheel (or use a piece of zinc). The other cork should be waxed to a penny and centered. Spectacle lenses may be cut on the same emery wheel if the wheel is attached to the lathe so as to revolve. Another method is to take a common piece of window glass (green glass is the best) and make a grindstone of that, using the flat surface for grinding. Cement it on a large chuck, the glass being from 2 to 2 ¹/₂ inches in diameter.

To Drill Optical Glass.—A graver sharpened to a long point is twisted between the fingers, and pressed against the glass, the point being moistened from time to time with turpentine. When the hole is finished half way, the drilling should be commenced from the other side. The starting should be begun with care, as otherwise the graver is likely to slide out and scratch the lens. It is advisable to mark the point of drilling with a diamond, and not to apply too great a pressure when twisting the graver.

Lubricants For Glass Drilling.—I.—Put garlic, chopped in small pieces, into spirit of turpentine and agitate the {373} mixture from time to time. Filter at the end of a fortnight, and when you desire to pierce the glass dip your bit or drill into this liquid, taking care to moisten it constantly to prevent the drill, etc., from becoming heated.

II.—Place a little alum in acetic acid, dip your drill into this and put a drop of it on the spot where the glass is to be pierced.

Gilding Glass.

When it is desired to gild glass for decorative purposes use a solution of gelatin in hot water, to which an equal quantity of alcohol has been added. The glass to be gilded is covered with this solution and the gold leaf put on while wet. A sheet of soft cotton must be pressed and smoothed over the leaf until the gelatin below is evenly distributed. This prevents spots in gilding. Careful apportionment of the gelatin is necessary. If too much be used, the gold may become spotted; if too little, the binding may be too weak to allow the gold to be polished. The glass should be cleaned thoroughly before gilding. After the gold leaf is put on the whole is allowed to dry for 10 or 20 minutes, when the luster of the gold can be raised by a cautious rubbing with cotton. Then another layer of gelatin is spread on with one stroke of a soft brush, and, if especially good work be required, a second layer of gold is put on and covered as before. In this case, however, the gelatin is used hot. After the gilding has become perfectly dry the letters or ornamentation are drawn and the surplus gold around the edges is taken off. The gilding does not become thoroughly fixed until after several months, and until then rough handling, washing, etc., should be avoided.

The best backing for glass gilding is asphaltum, with a little lampblack, this to be mixed up with elastic varnish; outside finishing varnish is the best, as the addition of this material gives durability.

Glass Manufacturing:

Water-tight Glass:

Water-tight Glass Roofs.—Glass roofs, the skeletons of which are constructed {374} of iron, are extremely difficult to keep water-tight, as the iron expands and contracts with atmospheric changes. To meet this evil, it is necessary to use an elastic putty, which follows the variations of the iron. A good formula is: Two parts rosin and one part tallow, melted together and stirred together thoroughly with a little minium. This putty is applied hot upon strips of linen or cotton cloth, on top and below, and these are pasted while the putty is still warm, with one edge on the iron ribs and the other, about one-fourth inch broad, over the glass.

Tightening Agent For Acid Receptacles.—Cracked vessels of glass or porcelain, for use in keeping acids, can be made tight by applying a cement prepared in the following manner: Take finely sifted sand, some asbestos with short fiber, a little magnesia and add enough concentrated water glass to obtain a readily kneadable mass. The acid renders the putty firm and waterproof.

Pencils For Marking Glass:

Prevention Of Fogging, Dimming, And Clouding.

I.—Place a few flat glass or porcelain dishes with calcium chloride in each window. This substance eagerly absorbs all moisture from the air. The contents of the dishes have to be renewed every 2 or 3 days, and the moist calcium chloride rigorously dried, whereupon it may be used over again.

II.—Apply to the inside face of the glass a thin layer of glycerine, which does not permit the vapor to deposit in fine drops and thus obstruct the light. Double glass may also be used. In this way the heat of the inside is not in direct contact with the cold outside.

III.—By means of the finger slightly moistened, apply a film of soap of any brand or kind to the mirror; then rub this off with a clean, dry cloth; the mirror will be as bright and clear as ever; breathing on it will not affect its clearness.

IV.—Window glass becomes dull during storage by reason of the presence of much alkali. This can be avoided by taking sand, 160 parts; calcined sodium sulphate, 75; powdered marble, 50; and coke, 4 to 5 parts. About 3 parts of the sodium sulphate may be replaced by an equal quantity of potash.

Frosted Glass.

I.—A frosted appearance may be given to glass by covering it with a mixture of

Magnesium sulphate 6 ounces

Dextrin 2 ounces

Water 20 ounces

When this solution dries, the magnesium sulphate crystallizes in fine needles.

II.—Another formula directs a strong solution of sodium or magnesium sulphate, applied warm, and afterwards coated with a thin solution of acacia.

III.—A more permanent “frost” may be put on the glass by painting with white lead and oil, either smooth or in stipple effect. The use of lead acetate with oil gives a more pleasing effect, perhaps, than the plain white lead.

IV.—If still greater permanency is desired, the glass may be ground by rubbing with some gritty substance. {375}

V.—For a temporary frosting, dip a piece of flat marble into glass cutter’s sharp sand, moistened with water; rub over the glass, dipping frequently in sand and water. If the frosting is required very fine, finish off with emery and water. Mix together a strong, hot solution of Epsom salt and a clear solution of gum arabic; apply warm. Or use a strong solution of sodium sulphate, warm, and when cool, wash with gum water. Or daub the glass with a lump of glazier’s putty, carefully and uniformly, until the surface is equally covered. This is an excellent imitation of ground glass, and is not disturbed by rain or damp.

VI.—This imitates ground glass:

Sandarac 2 ¹/₂ ounces

Mastic ¹/₂ ounce

Ether 24 ounces

Benzine 16 to 18 ounces

VII.—Take white lead ground in a mixture of ³/₄ varnish and ¹/₄ oil of turpentine, to which burnt white vitriol and white sugar of lead are added for drier. The paint must be prepared exceedingly thin and applied to the glass evenly, using a broad brush. If the windows require a new coat, the old one is first removed by the use of a strong lye, or else apply a mixture of hydrochloric acid, 2 parts; vitriol, 2 parts; copper sulphate, 1 part; and gum arabic 1 part, by means of a brush. The production of this imitation frosting entails little expense and is of special advantage when a temporary use of the glass is desired.

VIII.—A little Epsom salt (sulphate of magnesia) stirred in beer with a small dose of dextrin and applied on the panes by means of a sponge or a brush permits of obtaining mat panes.

Hoarfrost Glass.—The feathery foams traced by frost on the inside of the windows in cold weather may be imitated as follows:

The surface is first ground either by sand-blast or the ordinary method, and is then covered with a sort of varnish. On being dried either in the sun or by artificial heat, the varnish contracts strongly, taking with it the particles of glass to which it adheres; and as the contraction takes places along definite lines, the pattern given by the removal of the particles of glass resembles very closely the branching crystals of frostwork. A single coat gives a small, delicate effect, while a thick film, formed by putting on 2, 3 or more coats, contracts so strongly as to produce a large and bold design. By using colored glass, a pattern in half-tint may be made on the colored ground, and after decorating white glass, the back may be silvered or gilded.

Engraving, Matting, And Frosting.—Cover the glass with a layer of wax or of varnish on which the designs are traced with a graver or pen-point; next, hydrofluoric acid is poured on the tracings. This acid is very dangerous to handle, while the following process, though furnishing the same results, does not present this drawback: Take powdered fluoride of lime, 1 part, and sulphuric acid, 2 parts. Make a homogeneous paste, which is spread on the parts reserved for the engraving or frosting. At the end of 3 or 4 hours wash with water to remove the acid, next with alcohol to take off the varnish, or with essence of turpentine if wax has been employed for stopping off.

To Render Window Panes Opaque.—I.—Panes may be rendered mat and non-transparent by painting them on one side with a liquid prepared by grinding whiting with potash water-glass solution. After one or two applications, the panes are perfectly opaque, while admitting the light.

II.—Paint the panes with a solution of

Dextrin 200 parts by weight

Zinc vitriol 800 parts by weight

Bitter salt 300 parts by weight

In water 2,000 parts by weight

III.—For deadening panes already set in frames the following is suitable: Dissolve 1 part of wax in 10 parts of oil of turpentine, adding 1 part of varnish and 1 part of siccative. With this mixture coat the panes on the outside and dab, while still wet, with a pad of cotton wadding. If desired small quantities of Paris blue, madder lake, etc., may be added to the wax solution.

IV.—For deadening window panes in factories and workshops: To beeswax dissolved in oil of turpentine, add some dryer and varnish to obtain a quicker drying and hardening. After the window pane has been coated with this mixture on the outside, it is dabbed uniformly with a pad of wadding. The wax may be tinted with glazing colors.

Frosted Mirrors.—I.—Cover with a solution of Epsom salts in stale beer; apply with a sponge to the mirror, first wiping it clean and dry. On drying, the Epsom salt crystallizes, giving very handsome frosted effects, but the solution must not be applied on humid days {376} when the glass is liable to be damp, for in that case the effect will be a blurred one. When it is desirable to remove the coating, lukewarm water will serve the purpose without damage to the luster of the mirror.

II.—The following mixture, when applied to a mirror and left to dry, will form in many shapes, all radiating from a focus, this focus forming anywhere on the glass, and when all dry tends to form a most pleasing object to the eye.

Sour ale 4 ounces

Magnesium sulphate 1 ounce

Put on the mirror with a small, clean sponge and let dry. It is now ready for the artist, and he may choose his own colors and subject.

Crystalline Coatings Or Frostwork On Glass Or Paper.—Dissolve a small quantity of dextrin (gum arabic and tragacanth are not so suitable) in aqueous salt solution as concentrated as possible, for instance, in sulphate of magnesia (bitter salt), sulphate of zinc or any other readily crystallizing salt; filter the solution through white blotting paper and coat glass panes uniformly thin with the clear filtrate, using a fine, broad badger brush; leave them lying at an ordinary medium temperature about one-quarter hour in a horizontal position.

As the water slowly evaporates during this short time, handsome crystalline patterns, closely resembling frostwork, will develop gradually on the glass panes, which adhere so firmly to the glass or the paper (if well-sized glazed paper had been used) that they will not rub off easily. They can be permanently fixed by a subsequent coat of alcoholic shellac solution.

Especially handsome effects are produced with colored glass panes thus treated, and in the case of reflected light by colored paper.

For testing crystals as regards their optical behavior, among others their behavior to polarized light, it is sufficient to pour a solution of collodion wool (soluble peroxide lime for the preparation of collodion) over the surface of glass with the crystalline designs, and to pull off the dry collodion film carefully. If this is done cautiously it is not difficult to lift the whole crystalline group from the glass plate and to incorporate it with the glass-like, thin collodion film.

Removing Window Frost.

Here are fourteen methods of preventing frost on windows, arranged in the order of their efficacy: 1, Flame of an alcohol lamp; 2, sulphuric acid; 3, aqua ammonia; 4, glycerine; 5, aqua regia; 6, hydrochloric acid; 7, benzine; 8, hydriodic acid; 9, boric acid; 10, alcohol; 11, nitric acid; 12, cobalt nitrate; 13, infusion of nutgalls; 14, tincture of ferrous sulphate. By the use of an alcohol lamp (which, of course, has to be handled with great care) the results are immediate, and the effect more nearly permanent than by any other methods. The sulphuric acid application is made with a cotton cloth swab, care being taken not to allow any dripping, and so with all other acids. The effect of the aqua ammonia is almost instantaneous, but the window is frosted again in a short time. With the glycerine there are very good results—but slight stains on the window which may be easily removed.

The instructions for glycerine are: Dissolve 2 ounces of glycerine in 1 quart of 62 per cent alcohol containing, to improve the odor, some oil of amber. When the mixture clarifies it is rubbed over the inner surface of the glass. This, it is claimed, not only prevents the formation of frost, but also prevents sweating.

To Prevent Dimming Of Eyeglasses, Etc.—Mix olein-potash soap with about 3 per cent of glycerine and a little oil turpentine. Similar mixtures have also been recommended for polishing physicians’ reflectors, show-windows, etc., to prevent dimming.

Writing On Glass:

Ink For Writing On Glass.—

Shellac 20 parts

Alcohol 150 parts

Borax 35 parts

Water 250 parts

Water-soluble dye sufficient to color.

Dissolve the shellac in the alcohol, the borax in the water, and pour the shellac {377} solution slowly into that of the borax. Then add the coloring matter previously dissolved in a little water.

GLASS AND GLASSWARE CEMENT: See Adhesives and Amalgams.

GLASS CLEANERS: See Cleaning Preparations and Methods.

GLASS, COPPERING, GILDING, AND PLATING: See Plating.

GLASS ETCHING: See Etching.

GLASS, HOW TO AFFIX SIGN-LETTERS ON: See Adhesives under Sign-Letter Cements.

GLASS, FASTENING METALS ON: See Adhesives.

GLASS LETTERING: See Lettering.

GLASS LUBRICANTS: See Lubricants.

GLASS, PERCENTAGE OF LIGHT ABSORBED BY: See Light.

GLASS POLISHES: See Polishes.

GLASS, SILVERING OF: See Mirrors.

GLASS SOLDERS: See Solders.

GLASS, SOLUBLE, AS A CEMENT: See Adhesives.

GLASS, TO AFFIX PAPER ON: See Adhesives, under Water-Glass Cements.

GLASS, TO SILVER: See Silver.

GLAZES

(See also Ceramics, Enamels, Paints, and Varnishes.)

Glazes For Cooking Vessels.

—Melt a frit of red lead, 22.9 parts (by weight); crystallized boracic acid, 31 parts; enamel soda, 42.4 parts; cooking salt, 10 parts; gravel, 12 parts; feldspar, 8 parts. According to the character of the clay, this frit is mixed with varying quantities of sand, feldspar and kaolin, in the following manner:

Frit 84 84 84 84

Red lead 1.5 1.5 1.5 1.5

Gravel 8 6 3 ───

Feldspar ─── 2 5 8

Kaolin, burnt 6.5 6.5 6.5 6.5

Glazes which are produced without addition of red lead to the frit, are prepared as follows. Melt a frit of the following composition: Red lead, 22.9 parts (by weight); boracic acid in crystals, 24.8 parts; enamel soda, 37.1 parts; calcined potash, 6.9 parts; cooking salt, 10 parts; chalk, 10 parts; gravel, 12 parts; feldspar, 8 parts.

From the frit the following glazes are prepared:

Frit 86.5 86.5 86.5 86.5

Gravel 7 4.5 3 ───

Feldspar ─── 2.5 4 7

Kaolin, burnt 6.5 6.5 6.5 6.5

Glazing On Size Colors.

—The essential condition for this work is a well-sized foundation. For the glazing paint, size is likewise used as a binder, but a little dissolved soap is added, of about the strength employed for coating ceilings. Good veining can be done with this, and a better effect can be produced in executing pieces which are to appear in relief, such as car-touches, masks, knobs, etc., than with the ordinary means. A skillful grainer may also impart to the work the pleasant luster of natural wood. The same glazing method is applicable to colored paintings. If the glazing colors are prepared with wax, dissolved in French turpentine, one may likewise glaze with them on a size-paint ground. Glazing tube-oil colors thinned with turpentine and siccative, are also useful for this purpose. For the shadows, asphalt and Van Dyke brown are recommended, while the contour may be painted with size-paint.

Coating Metallic Surfaces With Glass.

—Metallic surfaces may be coated with glass by melting together 125 parts (by weight) of flint-glass fragments, 20 parts of sodium carbonate, and 12 parts of boracic acid. The molten mass is next poured on a hard and cold surface, stone or metal. After it has cooled, it is powdered. Make a mixture of 50° Bé. of this powder and sodium silicate (water glass). The metal to be glazed is coated with this and heated in a muffle or any other oven until the mixture melts and can be evenly distributed. This glass coating adheres firmly to iron and steel.

Glaze For Bricks.

—A glazing color for bricks patented in Germany is a

{378}

composition of 12 parts (by weight) lead; 4 parts litharge; 3 parts quartzose sand; 4 parts white argillaceous earth; 2 parts kitchen salt; 2 parts finely crushed glass, and 1 part saltpeter. These ingredients are all reduced to a powder and then mixed with a suitable quantity of water. The color prepared in this manner is said to possess great durability, and to impart a fine luster to the bricks.

GLAZES FOR LAUNDRY: See Laundry Preparations.

GLOBES, HOW TO COLOR: See Glass-Coloring.

GLOBES, PERCENTAGE OF LIGHT ABSORBED BY: See Light.

GLOBES, SILVERING OF: See Mirrors.

GLOSS FOR PAPER: See Paper.

GLOVE-CLEANERS: See Cleaning Compounds.

GLOVES, SUBSTITUTE FOR RUBBER: See Antiseptics.

GLOVES, TESTING: See Rubber.

GLUCOSE IN JELLY: See Foods.

GLUE

(Formulas for Glues and methods of manufacturing Glue will be found under Adhesives.)

Rendering Glue Insoluble In Water.

—Stuebling finds that the usual mixture of bichromate and glue when used in the ordinary way does not possess the waterproof properties with which it is generally credited. If mixed in the daylight, it sets hard before it can be applied to the surfaces to be glued, and if mixed and applied in the dark room it remains just as soluble as ordinary glue, the light being unable to penetrate the interior of the joints. Neither is a mixture of linseed oil and glue of any use for this purpose. Happening to upset a strong solution of alum—prepared for wood staining—into an adjacent glue pot, he stirred up the two together out of curiosity and left them. Wishing to use the glue a few days later, he tried to thin it down with water, but unsuccessfully, the glue having set to a waterproof mass. Fresh glue was then mixed with alum solution and used to join two pieces of wood, these resisting the action of the water completely.

To Bleach Glue.

—Dissolve the glue in water, by heat, and while hot, add a mixture in equal parts of oxalic acid and zinc oxide, to an amount equal to about 1 per cent of the glue. After the color has been removed, strain through muslin.

Method Of Purifying Glue.

—The glue is soaked in cold water and dissolved in a hot 25 per cent solution of magnesium sulphate. The hot solution is filtered, and to the filtrate is added a 25 per cent solution of magnesium sulphate containing 0.5 per cent of hydrochloric acid (or, if necessary, sulphuric acid). A white flocculent precipitate is obtained which is difficult to filter. The remainder of the glue in the saline solution is extracted by treatment with magnesium sulphate.

The viscous matter is washed, then dissolved in hot water, and allowed to cool, a quantity of weak alcohol acidulated by 1 per cent of hydrochloric acid being added just before the mass solidifies. From 2 to 3 parts, by volume, of strong alcohol (methyl or ethyl) are then added and the solution filtered, charcoal being used if necessary. The glue is finally precipitated from this solution by neutralizing with ammonia and washing with alcohol or water.

To Distinguish Glue And Other Adhesive Agents.

—The product to be examined is heated with hydrofluoric acid (50 per cent). If bone glue is present in any reasonable quantity, an intense odor of butyric acid arises at once, similar to that of Limburger cheese. But if dextrin or gum arabic is present, only an odor of dextrine or fluorhydric acid will be perceptible. Conduct the reaction with small quantities; otherwise the smell will be so strong that it is hard to remove from the room.

GLUE CLARIFIER: See Gelatin.

GLYCERINE

Recovering Glycerine From Soap Boiler’s Lye.

—I.—Glycerine is obtained as a by-product in making soap. For many years the lyes were thrown away as waste, but now considerable quantities of glycerine are recovered, which are much used in making explosive compounds.

When a metallic salt or one of the alkalies, as caustic soda, is added to tallow, a stearite of the metal (common soap is stearite of sodium) is formed, whereby the glycerine is eliminated. {379} This valuable by-product is contained in the waste lye, and has formed the subject of several patents.

Draw the lye off from the soap-pans; this contains a large quantity of water, some salt and soap and a small quantity of glycerine, and the great trouble is to concentrate the lye so that the large quantity of water is eliminated, sometimes 10 to 12 days being occupied in doing this. The soap and salt are easily removed.

To remove the soap, run the lye into a series of tanks alternating in size step-like, so that as the first, which should be the largest, becomes full, the liquor will flow into the second, from that into the third, and so on; by this arrangement the rosinous and albuminous matters will settle, and the soap still contained in the lyes will float on the surface, from which it is removed by skimming.

After thus freeing the lye of the solid impurities, convey the purified lye to the glycerine recovering department (wooden troughs or pipes may be used to do this), and after concentrating by heating it in a steam-jacketed boiler, and allowing it to cool somewhat, ladle out the solid salt that separates, and afterwards concentrate the lye by allowing it to flow into a tank, but before doing so let the fluid come in contact with a hot blast of air or superheated steam, whereby the crude discolored glycerine is obtained. This is further purified by heating with animal charcoal to decolorize it, then distilling several times in copper stills with superheated steam. The chief points to attend to are: (1) The neutralizing and concentrating the lye as much as possible and then separating the salts and solid matters; (2) concentrating the purified lye, and mixing this fluid with oleic acid, oil, tallow, or lard, and heating the mixture to 338° F., in a still, by steam, and gradually raise the heat to 372° F.; (3) stirring the liquor while being heated, and allowing the aqueous vapor to escape, and when thus concentrated, saponifying the liquid with lime to eliminate the glycerine; water is at the same time expelled, but this is removed from the glycerine by evaporating the mixture.

II.—In W. E. Garrigues’s patent for the recovering of glycerine from spent soap lyes, the liquid is neutralized with a mineral acid, and after separation of the insoluble fatty acids it is concentrated and then freed from mineral salts and volatile fatty acids, and the concentrated glycerine solution treated with an alkaline substance and distilled. Thus the soap lye may be neutralized with sulphuric acid, and aluminum sulphate added to precipitate the insoluble fatty acids. The filtrate from these is concentrated and the separated mineral salts removed, after which barium chloride is added and then sufficient sulphuric acid to liberate the volatile fatty acids combined with the alkali. These acids are partially enveloped in the barium sulphate, with which they can be separated from the liquid by filtration, while the remaining portion can be expelled by evaporating the liquid in a vacuum evaporator. Finally, the solution is treated with sodium carbonate, and the glycerine distilled.

Glycerine Lotion.—

Glycerine 4 ounces

Essence bouquet ¹/₄ ounce

Water 4 ounces

Cochineal coloring, a sufficient quantity.

(See also Cosmetics for Glycerine Lotions.)

GLYCERINE APPLICATIONS: See Cosmetics.

GLYCERINE AS A DETERGENT: See Cleaning Preparations and Methods.

GLYCERINE PROCESS: See Photography.

GLYCERINE SOAP: See Soap.

GLYCERINE DEVELOPER: See Photography.

GOLD

(See also Jewelers’ Formulas.)

Gold Printing On Oilcloth And Imitation Leather.

—Oilcloth can very easily be gilt if the right degree of heat is observed. After the engraving has been put in the press, the latter is heated slightly, so that it is still possible to lay the palm of the hand on the heated plate without any unpleasant sensation. Go over the oilcloth with a rag in which a drop of olive oil has been rubbed up, which gives a greasy film. No priming with white of egg or any other priming agent should be done, since the gold leaf would stick. Avoid sprinkling on gilding powder. The gold leaf is applied directly on the oilcloth; then place in the lukewarm press, squeezing it down with

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a quick jerky motion and opening it at once. If the warm plate remains too long on the oilcloth, the gold leaf will stick. When the impression is done, the gold leaf is not swept off at once, but the oilcloth is first allowed to cool completely for several minutes, since there is a possibility that it has become slightly softened under the influence of the heat, especially at the borders of the pressed figures, and the gold would stick there if swept off immediately. The printing should be sharp and neat and the gold glossy. For bronze printing on oilcloth, a preliminary treatment of printing with varnish ground should be given. The bronze is dusted on this varnish.

Imitation leather is generally treated in the same manner. The tough paper substance is made to imitate leather perfectly as regards color and pressing, especially the various sorts of calf, but the treatment in press gilding differs entirely from that of genuine leather. The stuff does not possess the porous, spongy nature of leather, but on the contrary is very hard, and in the course of manufacture in stained-paper factories is given an almost waterproof coating of color and varnish. Hence the applied ground of white of egg penetrates but slightly into this substance, and a thin layer of white of egg remains on the surface. The consequence is that in gilding the gold leaf is prone to become attached, the ground of albumen being quickly dissolved under the action of the heat and put in a soft sticky state even in places where there is no engraving. In order to avoid this the ground is either printed only lukewarm, or this imitation leather is not primed at all, but the gold is applied immediately upon going over the surface with the oily rag. Print with a rather hot press, with about the same amount of heat as is employed for printing shagreen and title paper. A quick jerky printing, avoiding a long pressure of the plate, is necessary.

Liquid Gold.

—Take an evaporating dish, put into it 880 parts, by weight, of pure gold; then 4,400 parts, by weight, of muriatic acid, and 3,520 parts, by weight, nitric acid; place over a gas flame until the gold is dissolved, and then add to it 22 parts, by weight, of pure tin; when the tin is dissolved add 42 parts, by weight, of butter of antimony. Let all remain over the gas until the mixture begins to thicken. Now put into a glass and test with the hydrometer, which should give about 1,800 specific gravity. Pour into a large glass and fill up with water until the hydrometer shows 1090; pour all the solution into a chemical pot and add to it 1,760 parts, by weight, balsam of sulphur, stirring well all the while, and put it over the gas again; in an hour it should give, on testing, 125° F.; gradually increase the heat up to 185° F., when it should be well stirred and then left to cool about 12 hours. Pour the watery fluid into a large vessel and wash the dark-looking mass 5 or 6 times with hot water; save each lot of water as it contains some portion of gold. Remove all moisture from the dark mass by rolling on a slab and warming before the fire occasionally so as to keep it soft. When quite dry add 2

times its weight of turpentine and put it over a small flame for about 2 hours; then slightly increase the heat for another hour and a half. Allow this to stand about 24 hours, and then take a glazed bowl and spread over the bottom of it 1,760 parts, by weight, of finely powdered bismuth; pour the prepared gold over it in several places. Now take a vessel containing water and place inside the other vessel containing the gold, and heat it so as to cause the water to boil for 3 hours; allow it to remain until settled and pour off the gold from the settlings of the bismuth, and try it; if not quite right continue the last process with bismuth until good; the bismuth causes the gold to adhere.

Preparation Of Balsam Of Sulphur.

—Take 16 parts oil of turpentine; 2

parts spirits of turpentine; 8 parts flour of sulphur.

Place all in a chemical pot and heat until it boils; continue the boiling until no sulphur can be seen in it; now remove from the heat and thin it with turpentine until about the thickness of treacle, then warm it again, stirring well; allow it to cool until it reaches 45° F., then test it with the hydrometer, and if specific gravity is not 995 continue the addition of turpentine and warming until correct, let it thoroughly cool, then bottle, keeping it air-tight.

To Purify Bismuth.

—Take 6 parts bismuth metal,

part saltpeter. Melt together in a biscuit cup, pour out on to a slab, and take away all dirt, then grind into a fine powder.

To Recover The Gold From The Remains Of The Foregoing Process.

—Put all the “watery” solutions into a large vessel and mix with a filtered saturated solution of copperas; this will cause

{381}

a precipitate of pure metallic gold to gradually subside; wash it with cold water and dry in an evaporating dish.

All rags and settlings that are thick should be burnt in a crucible until a yellow mass is seen; then take this and dissolve it in 2 parts muriatic acid and 1 part nitric acid. Let it remain in a porcelain dish until it begins to thicken, and crystals form on the sides. Add a little nitric acid, and heat until crystals again form. Now take this and mix with cold water, add a solution of copperas to it and allow it to settle; pour off the water, and with fresh water wash till quite free from acid. The gold may then be used again, and if great care is exercised almost one-half the original quantity may be recovered.

The quantities given in the recipe should produce about 13 to 15 parts of the liquid gold. It does not in use require any burnishing, and should be fired at rose-color heat. If desired it can be fluxed with Venice turpentine, oil of lavender, or almonds.

Treatment Of Brittle Gold.

—I.—Add to every 100 parts, by weight, 5 to 8 parts, by weight, of cupric chloride and melt until the oily layer which forms has disappeared. Then pour out, and in most cases a perfectly pliable gold will have been obtained. If this should not be the case after the first fusion, repeat the operation with the same quantity of cupric chloride. The cupric chloride must be kept in a well-closed bottle, made tight with paraffine, and in a dry place.

II.—Pass chlorine gas through the molten gold, by which treatment most of the gold which has otherwise been set aside as unfit for certain kinds of work may be redeemed.

Assaying Of Gold.

—To determine the presence of gold in ores, etc., mix a small quantity of the finely powdered ore in a flask with an equal volume of tincture of iodine, shake repeatedly and well, and leave in contact about 1 hour, with repeated shaking. Next allow the mixture to deposit and dip a narrow strip of filtering paper into the solution. Allow the paper to absorb, next to dry; then dip it again into the solution, repeating this 5 to 6 times, so that the filtering paper is well saturated and impregnated. The strip is now calcined, as it were, and the ashes, if gold is present, show a purple color. The coloring disappears immediately if the ashes are moistened with bromine water. The same test may also be modified as follows: Cover the finely pulverized ore with bromine water, shake well and repeatedly during about 1 hour of the contact, and filter. Now add to the solution stannic protochloride in solution, whereby, in case gold is present, a purple color (gold purple of Cassius) will at once appear. In case the ore to be assayed contains sulphides, it is well to roast the ore previously, and should it contain lime carbonate, it is advisable to calcine the ore before in the presence of ammonium carbonate.

Gold Welding.

—Gold may be welded together with any metal, if the right methods are employed, but best with copper. Some recipes for welding agents are here given.

I.—Two parts by weight (16 ounces equal 1 pound) of green vitriol; 1 part by weight (16 ounces equal 1 pound) of saltpeter; 6 parts by weight (16 ounces equal 1 pound) of common salt; 1 part by weight (16 ounces equal 1 pound) of black manganic oxide or pulverized, and mixed with 48 parts by weight (16 ounces equal 1 pound) of good welding sand.

II.—Filings of the metal to be used in welding are mixed with melted borax in the usual proportion. To be applied in the thickness desired.

III.—A mixture of 338 parts of sodium phosphate and 124 parts of boracic acid is used when the metal is at dark-red heat. The metal is then to be brought to a bright-red heat, and hammered at the same time. The metal easily softens at a high temperature, and a wooden mallet is best. All substances containing carbon should be removed from the surface, as success depends upon the formation of a fusible copper phosphate, which dissolves a thin layer of oxide on the surface, and keeps the latter in good condition for welding.

To Recover Gold-leaf Waste.

—To recover the gold from color waste, gold brushes, rags, etc., they are burned up to ashes. The ashes are leached with boiling water containing hydrochloric acid. The auriferous residuum is then boiled with aqua regia (1 part nitric acid and 3 parts hydrochloric acid), whereby the gold is dissolved and gold chloride results. After filtration and evaporation to dryness the product is dissolved in water and precipitated with sulphate of protoxide of iron. The precipitated gold powder is purified with hydrochloric acid.

Gold From Acid Coloring Baths.

—I.—Different lots are to be poured together

{382}

and the gold in them recovered. The following method is recommended: Dissolve a handful of phosphate of iron in boiling water, to which liquor add the coloring baths, whereby small particles of gold are precipitated. Then draw off the water, being careful not to dissolve the auriferous sediment at the bottom. Free this from all traces of acid by washing with plenty of boiling water; it will require 3 or 4 separate washings, with sufficient time between each to allow the water to cool and the sediment to settle before pouring off the water. Then dry in an iron vessel by the fire and fuse in a covered skittlepot with a flux.

II.—The collected old coloring baths are poured into a sufficiently large pot, an optional quantity of nitro-muriatic acid is added, and the pot is placed over the fire, during which time the fluid is stirred with a wooden stick. It is taken from the fire after a while, diluted largely with rain water and filtered through coarse paper. The gold is recovered from the filtered solution with a solution of green vitriol which is stored in air-tight bottles, then freshened with hot water, and finally smelted with borax and a little saltpeter.

Parting With Concentrated Sulphuric Acid.

—It is not necessary scrupulously to observe the exact proportion of the gold to the silver. After having prepared the auriferous silver, place it in a quantity of concentrated sulphuric acid contained in a porcelain vessel, and let it come to a violent boil. When the acid has either become saturated and will dissolve no more, or when solution is complete, remove the dissolving vessel from the fire, let it cool, and, for the purpose of clarifying, pour dilute sulphuric acid into the solution. The dissolved silver is next carefully decanted from the gold sediment upon the bottom, another portion of concentrated acid is poured in, and the gold is well boiled again, as it will still contain traces of silver; this operation may be repeated as often as is deemed necessary. The solution, poured into the glass jars, is well diluted with water, and the silver is then precipitated by placing a sheet of copper in the solution. The precipitate is then freshened with hot water, which may also be done by washing upon the filter; the granulated silver (sulphate of silver) is pressed out in linen, dried and smelted. The freshened gold, after drying, is first smelted with bisulphate of soda, in order to convert the last traces of silver into sulphate, and then smelted with borax and a little saltpeter.

To Remove Gold From Silver.

—I.—Gold is taken from the surface of silver by spreading over it a paste, made of powdered sal ammoniac with aqua fortis and heating it till the matter smokes and is nearly dry, when the gold may be separated by rubbing it with the scratch brush.

II.—The alloy is to be melted and poured from a height into a vessel of cold water, to which a rotary motion is imparted, or else it is to be poured through a broom. By this means the metal is reduced to a fine granular condition. The metallic substance is then treated with nitric acid, and gently heated. Nitrate of silver is produced, which can be reduced by any of the ordinary methods; while metallic gold remains as a black sediment, which must be washed and melted.

Simple Specific Gravity Test.

—A certain quantity of the metal is taken and drawn out into a wire, which is to be exactly of the same length as one from fine silver; of course, both must have been drawn through the same hole, silver being nearly

lighter than gold, it is natural that the one of fine silver must be lighter, and the increased weight of the wire under test corresponds to the percentage of gold contained in it.

To Make Fat Oil Gold Size.

—First thin up the fat oil with turpentine to workable condition; then mix a little very finely ground pigment with the gold size, about as much as in a thin priming coat. Make the size as nearly gold color as is convenient; chrome yellow tinted with vermilion is as good as anything for this purpose. Then thin ready for the brush with turpentine, and it will next be in order to run the size through a very fine strainer. Add japan, as experience or experiment may teach, to make it dry tacky about the time the leaf is to be laid. Dry slowly, because the slower the size dries, the longer it will hold its proper tackiness when it is once in that condition.

To Dissolve Copper From Gold Articles.

—Take 2 ounces of proto-sulphate of iron and dissolve it in

a pint of water, then add to it in powder 2 ounces of nitrate of potash; boil the mixture for some time, and afterwards pour it into a shallow vessel to cool and crystallize; then to every part of the crystallized salt add 8 ounces of muriatic acid, and preserve in a bottle for use. Equal parts of the above preparation and of boiling water is a good proportion to use in dissolving copper, or 1 part by weight

{383}

of nitric acid may be used to 4 parts by weight of boiling water as a substitute.

Gold Purple.

I.—The solution of stannous chloride necessary for the preparation of gold purple is produced by dissolving pure tin in pure hydrochloric acid (free from iron), in such a manner that some of the tin remains undissolved, and evaporating the solution, into which a piece of tin is laid, to crystallization.

II.—Recipe for Pale Purple.—Dissolve 2 parts by weight of tin in boiling aqua regia, evaporate the solution at a moderate heat until it becomes solid, dissolve in distilled water and add 2 parts by weight of a solution of stannous chloride (specific gravity 1.7) dilute with 9,856 parts by weight of water, stir into the liquid a solution of gold chloride prepared from 0.5 parts by weight of gold and containing no excess of acid (the latter being brought about by evaporating the solution of gold chloride to dryness and heating for some time to about 320° F.). This liquid is dimmed by the admixture of 50 parts by weight of liquid ammonia which eliminates the purple. The latter is quickly filtered off, washed out and while still moist rubbed up with the glass paste. This consists of enamel of lead 20 parts by weight; quartzose sand, 1 part by weight; red lead, 2 parts by weight; and calcined borax, 1 part by weight, with silver carbonate, 3 parts by weight.

III.—Recipe for Dark Gold Purple.—Gold solution of 0.5 parts by weight of gold, solution of stannous chloride (specific gravity 1.7) 7.5 parts by weight; thin with 9,856 parts by weight of water, separate the purple by a few drops of sulphuric acid, wash out the purple and mix same with enamel of lead 10 parts by weight and silver carbonate, 0.5 parts by weight.

IV.—Recipe for Pink Purple.—Gold solution of 1 part by weight of gold; solution of 50 parts by weight of alum in 19,712 parts by weight of water; add 1.5 parts by weight of stannous chloride solution (specific gravity 1.7) and enough ammonia until no more precipitate is formed; mix the washed out precipitate, while still moist, with 70 parts by weight of enamel of lead and 2.5 parts by weight of silver carbonate. According to the composition of the purple various reds are obtained in fusing it on; the latter may still be brightened up by a suitable increase of the flux.

To Render Pale Gold Darker.

—Take verdigris, 50 parts by weight and very strong vinegar, 100 parts by weight. Dissolve the verdigris in the vinegar, rub the pieces with it well, heat them and dip them in liquid ammonia diluted with water. Repeat the operation if the desired shade does not appear the first time. Rinse with clean water and dry.

To Color Gold.

—Gilt objects are improved by boiling in the following solution: Saltpeter, 2 parts by weight; cooking salt, 1 part by weight; alum, 1 part by weight; water, 24 parts by weight; hydrochloric acid, 1 part by weight (1.12 specific gravity). In order to impart a rich appearance to gilt articles, the following paste is applied: Alum, 3 parts by weight; saltpeter, 2 parts by weight; zinc vitriol, 1 part by weight; cooking salt, 1 part by weight; made into a paste with water. Next, heat until black, on a hot iron plate, wash with water, scratch with vinegar and dry after washing.

Gold-leaf Striping.

—To secure a good job of gilding depends largely for its beauty upon the sizing. Take tube chrome yellow ground in oil, thin with wearing body varnish, and temper it ready for use with turpentine. Apply in the evening with an ox-tail striper, and let it stand until the next morning, when, under ordinary circumstances, it will be ready for the gold leaf, etc. After the gilding is done, let the job stand 24 hours before varnishing.

Composition Of Aqua Fortis For The Touch-stone.

—Following are the three compositions mostly in use: I.—Nitric acid, 30 parts; hydrochloric acid, 3 parts; distilled water, 20 parts.

II.—Nitric acid, 980 parts by weight; hydrochloric acid, 20 parts by weight.

III.—Nitric acid, 123 parts by weight; hydrochloric acid, 2 parts by weight.

To Remove Soft Solder From Gold.

—Place the work in spirits of salts (hydrochloric acid) or remove as much as possible with the scraper, using a gentle heat to remove the solder more easily.

Tipping Gold Pens.

—Gold pens are usually tipped with iridium. This is done by soldering very small pieces to the points and filing to the proper shape.

To Recognize Whether An Article Is Gilt.

—Simply touch the object with a glass rod previously dipped into a solution of bichloride of copper. If the article has been gilt the spot touched should remain intact, while it presents a

{384}

brown stain if no gold has been deposited on its surface.

To Burnish Gilt Work.

—Ale has proved a very good substitute for soap and water in burnishing gilt as it increases the ease and smoothness with which it is accomplished. Vinegar is a somewhat poorer substitute for ale.

White-gold Plates Without Solder.

—The gold serving as a background for white-gold is rolled in the desired dimensions and then made perfectly even under a powerful press. It is then carefully treated with a file until a perfectly smooth surface is obtained. After a white-gold plate of the required thickness has been produced in the same manner, the surfaces of the two plates to be united are coated with borax and then pressed together by machine, which causes the harder metal to be squeezed slightly into the surface of the other, furnishing a more solid and compact mass. The metals, now partially united, are firmly fastened together by means of strong iron wire and a little more borax solution is put on the edges. Then heat to the temperature necessary for a complete adhesion, but the heat must not be so great as to cause an alloyage by fusing. The whole is finally rolled out into the required thickness.

To Fuse Gold Dust.

—Use such a crucible as is generally used for melting brass; heat very hot; then add the gold dust mixed with powdered borax; after some time a scum or slag will be on top, which may be thickened by the addition of a little lime or bone ash. If the dust contains any of the more oxidizable metals, add a little niter, and skim off the slag or scum very carefully; when melted, grasp the crucible with strong iron tongs, and pour off immediately into molds, slightly greased. The slag and crucibles may be afterwards pulverized, and the auriferous matter recovered from the mass through cupellation by means of lead.

GOLD ALLOYS: See Alloys.

GOLD, EXTRACTION OF, BY AMALGAMATION: See Amalgams.

GOLD LETTERS ON GLASS, CEMENTS FOR AFFIXING: See Adhesives, under Sign-Letter Cements.

GOLD, REDUCTION OF OLD PHOTOGRAPHIC: See Photography.

GOLD FOIL SUBSTITUTES AND GOLD LEAF: See Metal Foil.

GOLD-LEAF ALLOYS: See Alloys.

GOLD LEAF AND ITS APPLICATION: See Paints.

GOLD PLATING: See Plating.

GOLD, RECOVERY OF WASTE: See Jewelers’ Formulas.

GOLD RENOVATOR: See Cleaning Preparations and Methods.

GOLD, SEPARATION OF PLATINUM FROM: See Platinum.

GOLD SOLDERS: See Solders.

GOLD TESTING: See Jewelers’ Formulas.

GOLD VARNISH: See Varnishes.

GOLDWASSER: See Wines and Liquors.

GONG METAL: See Alloys.

GRAIN.

Formalin Treatment Of Seed Grain For Smut.

—Smut is a parasitic fungus, and springs from a spore (which corresponds to a seed in higher plants). This germinates when the grain is seeded and, penetrating the little grain plant when but a few days old, grows up within the grain stem. After entering the stem there is no evidence of its presence until the grain begins to head. At this time the smut plant robs the developing kernels of their nourishment and ripens a mass of smut spores.

These spores usually ripen before the grain, and are blown about the field, many spores becoming lodged on the ripening grain kernels. The wholesale agent of infection is the threshing machine. For this reason the safest plan is to treat all seed wheat and oats each year.

Secure a 40 per cent solution of formalin (the commercial name for formaldehyde gas held in a water solution). About 1 ounce is required for every 5 bushels of grain to be treated. {385}

Clean off a space on the barn floor or sweep a clean space on the hard level ground and lay a good-sized canvas down, on which to spread out the wheat. See that the place where the grain is to be treated is swept clean and thoroughly sprinkled with the formalin solution before placing the seed grain there.

Prepare the formalin solution immediately before use, as it is volatile, and if kept may disappear by evaporation.

Use 4 ounces of formalin for 10 gallons of water. This is sufficient for 600 pounds of grain. Put the solution in a barrel or tub, thoroughly mixing.

The solution can be applied with the garden sprinkler. Care must be taken to moisten the grain thoroughly. Sprinkle, stir the grain up thoroughly and sprinkle again, until every kernel is wet.

After sprinkling, place the grain in a conical pile and cover with horse-blankets, gunny sacks, etc. The smut that does the damage lies just under the glume of the oats or on the basal hairs of the wheat. Covering the treated grain holds the gas from the formalin within the pile, where it comes in contact with the kernels, killing such smut spores as may have survived the previous treatment. After the grain has remained in a covered pile 2 to 4 hours, spread it out again where the wind can blow over it, to air and dry.

As soon as the grain can be taken in the hand without the kernels sticking together, it can be sown in the field. The grain may be treated in the forenoon and seeded in the afternoon.

Since this treatment swells the kernels it hastens germination and should be done in the spring just before seeding time.

While the copper sulphate or bluestone treatment is valuable in killing smut, the formalin treatment can be given in less time, is applied so easily and is so effectual that it is recommended as a sure and ready means of killing smut in wheat and oats.

GRAINING CRAYONS: See Crayons.

GRAINING COLORS: See Pigments.

GRAINING WITH PAINT: See Paint.

GRAINING, PALISANDER: See Palisander.

GRAPE JUICE, PRESERVATION OF: See Wines and Liquors.

GRAPHITE AS A LUBRICANT: See Lubricants.

GRAVEL WALKS.

For cleaning gravel walks any of the following may be used: I.—Gas-tar liquor.

II.—Rock salt (cattle salt).

III.—Hydrochloric acid.

IV.—Sulphuric acid.

V.—Fresh limewater. The gas-tar liquor must be poured out a few times in succession, and must not touch the tree roots and borders of the paths. This medium is cheap. Cattle salt must likewise be thrown out repeatedly. The use of hydrochloric and sulphuric acids is somewhat expensive. Mix 60 parts of water with 10 parts of unslaked lime and 1 part of sulphuric acid in a kettle, and sprinkle the hot or cold mixture on the walks by means of a watering pot. If limewater is used alone it must be fresh—1 part of unslaked lime in 10 parts of water.

GRAVERS:

To Prepare Gravers For Bright-cutting.

—Set the gravers after the sharpening on the oilstone on high-grade emery (tripoli) paper. Next, hone them further on the rouge leather, but without tearing threads from it. In this manner the silver and aluminum engravers grind their gravers. A subsequent whetting of the graver on the touchstone is not advisable, since it is too easily injured thereby. A graver prepared as described gives excellent bright engraving and never fails.

In all bright-cutting the graver must be highly polished; but when bright-cutting aluminum a lubricant like coal-oil or vaseline is generally employed with the polished tool; a mixture of vaseline and benzine is also used for this purpose. Another formula which may be recommended for bright-cutting aluminum is composed of the following ingredients: Mix 4 parts of oil of turpentine and 1 part of rum with 1 ounce of stearine. Immerse the graver in any of the mixtures before making the bright-cut.

GREASES: See Lubricants.

GREASE ERADICATORS: See Cleaning Preparations and Methods. {386}

GREASE PAINTS: See Cosmetics.

GREEN, TO DISTINGUISH BLUE FROM, AT NIGHT: See Blue.

GREEN GILDING: See Plating.

GRENADES: See Fire Extinguishers.

GRINDING: See Tool Setting.

GRINDER DISK CEMENT, SUBSTITUTE FOR: See Adhesives.

GRINDSTONES:

To Mend Grindstones.

—The mending of defective places in grindstones is best done with a mass consisting of earth-wax (so-called stone-pitch), 5 parts, by weight; tar, 1 part; and powdered sandstone or cement, 3 parts, which is heated to the boiling point and well stirred together. Before pouring in the mass the places to be mended must be heated by laying red-hot pieces of iron on them. The substance is, in a tough state, poured into the hollows of the stone, and the pouring must be continued, when it commences to solidify, until even with the surface.

Treatment Of The Grindstone.

—The stone should not be left with the lower part in the water. This will render it brittle at this spot, causing it to wear off more quickly and thus lose its circularity. It is best to moisten the stone only when in use, drop by drop from a vessel fixed above it and to keep it quite dry otherwise. If the stone is no longer round, it should be made so again by turning by means of a piece of gas pipe or careful trimming, otherwise it will commence to jump, thus becoming useless. It is important to clean all tools and articles before grinding, carefully removing all grease, fat, etc., as the pores of the stone become clogged with these impurities, which destroy its grain and diminish its strength. Should one side of the grindstone be lighter, this irregularity can be equalized by affixing pieces of lead, so as to obtain a uniform motion of the stone. It is essential that the stone should be firm on the axis and not move to and fro in the bearings.

Grindstone Oil.

—Complaints are often heard that grindstones are occasionally harder on one side than the other, the softer parts wearing away in hollows, which render grinding difficult, and soon make the stone useless. This defect can be remedied completely by means of boiled linseed oil. When the stone is thoroughly dry, the soft side is turned uppermost, and brushed over with boiled oil, which sinks into the stone, until the latter is saturated. The operation takes about 3 to 4 hours in summer. As soon as the oil has dried, the stone may be damped, and used without any further delay. Unlike other similar remedies, this one does not prevent the stone from biting properly in the oiled parts, and the life of the stone is considerably lengthened, since it does not have to be dressed so often.

GROUNDS FOR GRAINING COLORS: See Pigments.

GUMS:

(See also Adhesives, under Mucilages.)

Gums, Their Solubility In Alcohol.

—The following table shows the great range of solubility of the various gums, and of various specimens of the same gum, in 60 per cent alcohol:

Acajon 6.94 to 42.92

Aden 0.60 to 26.90

Egyptian 46.34

Yellow Amrad 26.90 to 32.16

White Amrad 0.54 to 1.50

Kordofan 1.40 to 6.06

Australian 10.67 to 20.85

Bombay 22.06 to 46.14

Cape 1.67 to 1.88

Embavi 25.92

Gedda 1.24 to 1.30

Ghatti 31.60 to 70.32

Gheziereh 1.50 to 12.16

Halebi 3.70 to 22.60

La Plata 9.65

Mogadore 27.66

East Indian 3.24 to 74.84

Persian 1.74 to 17.34

Senegal 0.56 to 14.30

Substitute For Gum Arabic.

—Dissolve 250 parts of glue in 1,000 parts of boiling water and heat this glue solution on the water bath with a mixture of about 10 parts of barium peroxide of 75 per cent BaO

and 5 parts of sulphuric acid (66°) mixed with 115 parts of water, for about 24 hours. After the time has elapsed, pour off from the barium sulphate, whereby a little sulphurous acid results owing to reduction of the sulphuric acid, which has a bleaching action and makes the glue somewhat paler. If this solution is mixed, with stirring, and dried upon glass plates in the drying-room, a product which can hardly be

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distinguished from gum arabic is obtained. An envelope sealed with this mucilage cannot be opened by moistening the envelope. The traces of free acid which it contains prevent the invasion of bacteria, hence all putrefaction.

The adhesive power of the artificial gum is so enormous that the use of cork stoppers is quite excluded, since they crumble off every time the bottle is opened, so that finally a perfect wreath around the inner neck of the bottle is formed. Only metallic or porcelain stoppers should be used.

GUM ARABIC, INCREASING ADHESION OF: See Adhesives, under Mucilages.

GUM BICHROMATE PROCESS: See Photography.

GUM DROPS: See Confectionery.

GUM-LAC: See Oil.

GUMS USED IN MAKING VARNISH: See Varnishes.

GUN BARRELS, TO BLUE: See Steel.

GUN BRONZE: See Alloys, under Phosphor Bronze.

GUN COTTON: See Explosives.

GUN LUBRICANTS: See Lubricants.

GUNPOWDER: See Explosives.

GUNPOWDER STAINS.

A stain produced by the embedding of grains of gunpowder in the skin is practically the same thing as a tattoo mark. The charcoal of the gunpowder remains unaffected by the fluids of the tissues, and no way is known of bringing it into solution there. The only method of obliterating such marks is to take away with them the skin in which they are embedded. This has been accomplished by the application of an electric current, and by the use of caustics. When the destruction of the true skin has been accomplished, it becomes a foreign body, and if the destruction has extended to a sufficient depth, the other foreign body, the coloring matter which has been tattooed in, may be expected to be cast off with it.

Recently pepsin and papain have been proposed as applications to remove the cuticle. A glycerole of either is tattooed into the skin over the disfigured part; and it is said that the operation has proved successful.

It is scarcely necessary to say that suppuration is likely to follow such treatment, and that there is risk of scarring. In view of this it becomes apparent that any such operation should be undertaken only by a surgeon skilled in dermatological practice. An amateur might not only cause the patient suffering without success in removal, but add another disfigurement to the tattooing.

Carbolic acid has been applied to small portions of the affected area at a time, with the result that the powder and skin were removed simultaneously and, according to the physician reporting the case, with little discomfort to the patient.

Rubbing the affected part with moistened ammonium chloride once or twice a day has been reported as a slow but sure cure.

GUTTA-PERCHA.

Gutta-percha Substitute.

—I.—A decoction of birch bark is first prepared, the external bark by preference, being evaporated. The thick, black residue hardens on exposure to the air, and is said to possess the properties of gutta-percha without developing any cracks. It can be mixed with 50 per cent of India rubber or gutta-percha. The compound is said to be cheap, and a good non-conductor of electricity. Whether it possesses all the good qualities of gutta-percha is not known.

II.—A new method of making gutta-percha consists of caoutchouc and a rosin soap, the latter compounded of 100 parts of rosin, 100 parts of Carnauba wax, and 40 parts of gas-tar, melted together and passed through a sieve. They are heated to about 355° to 340° F., and slowly saponified by stirring with 75 parts of limewater of specific gravity 1.06. The product is next put into a kneading machine along with an equal quantity of caoutchouc cuttings, and worked in this machine at a temperature of 195° F. or over. When sufficiently kneaded, the mass can be rolled to render it more uniform.

GUTTER CEMENT: See Cement and Putty.

GYPSUM:

Method Of Hardening Gypsum And Rendering It Weather-proof.

—Gypsum possesses only a moderate degree of strength even after complete hardening,

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and pieces are very liable to be broken off. Various methods have been tried, with a view to removing this defect and increasing the hardness of gypsum. Of these methods, that of Wachsmuth, for hardening articles made of gypsum and rendering them weather-proof, deserves special notice. All methods of hardening articles made of gypsum have this in common: the gypsum is first deprived of its moisture, and then immersed in a solution of certain salts, such as alum, green vitriol, etc. Articles treated by the methods hitherto in vogue certainly acquire considerable hardness, but are no more capable of resistance to the effects of water than crude gypsum. The object of Wachsmuth’s process is not merely to harden the gypsum, but to transform it on the surface into insoluble combinations. The process is as follows: The article is first put into the required shape by mechanical means, and then deprived of its moisture by heating to 212° to 302° F. It is then plunged into a heated solution of barium hydrate, in which it is allowed to remain for a longer or shorter time, according to its strength. When this part of the process is complete, the article is smoothed by grinding, etc., and then placed in a solution of about 10 per cent of oxalic acid in water. In a few hours it is taken out, dried, and polished. It then possesses a hardness surpassing that of marble, and is impervious to the action of water. Nor does the polish sustain any injury from contact with water, whereas gypsum articles hardened by the usual methods lose their polish after a few minutes’ immersion in water. Articles treated by the method described have the natural color of gypsum, but it is possible to add a color to the gypsum during the hardening process. This is done by plunging the gypsum, after it has been deprived of its moisture, and before the treatment with the barium solution, into a solution of a colored metallic sulphate, such as iron, copper, or chrome sulphate, or into a solution of some coloring matter. Pigments soluble in the barium or oxalic-acid solutions may also be added to the latter.

Gypsum may be hardened and rendered insoluble by ammonium borate as follows: Dissolve boric acid in hot water and add sufficient ammonia water to the solution that the borate at first separated is redissolved. The gypsum to be cast is stirred in with this liquid, and the mass treated in the ordinary way. Articles already cast are simply washed with the liquid, which is quickly absorbed. The articles withstand the weather as well as though they were of stone.

GYPSUM FLOWERS: See Flowers.

GYPSUM, PAINT FOR: See Paint.

HAIR FOR MOUNTING.

The microscopist or amateur, who shaves himself, need never resort to the trouble of embedding and cutting hairs in the microtome in order to secure very thin sections of the hair of the face. If he will first shave himself closely “with the hair,” as the barbers say (i. e., in the direction of the natural growth of the hair), and afterwards lightly “against the hair” (in the opposite direction to above), he will find in the “scrapings” a multitude of exceedingly thin sections. The technique is very simple. The lather and “scrapings” are put into a saucer or large watch-glass and carefully washed with clean water. This breaks down and dissolves the lather, leaving the hair sections lying on the bottom of the glass. The after-treatment is that usually employed in mounting similar objects.

HAIR PREPARATIONS

Dandruff Cures.

The treatment of that condition of the scalp which is productive of dandruff properly falls to the physician, but unfortunately the subject has not been much studied. One cure is said to be a sulphur lotion made by placing a little sublimed sulphur in water, shaking well, then allowing to settle, and washing the head every morning with the clear liquid.

Sulphur is said to be insoluble in water; yet a sulphur water made as above indicated has long been in use as a hair wash. A little glycerine improves the preparation, preventing the hair from becoming harsh by repeated washings.

The exfoliated particles of skin or “scales” should be removed only when entirely detached from the cuticle. They result from an irritation which is increased by forcible removal, and hence endeavors to clean the hair from them by combing or brushing it in such a way as to scrape the scalp are liable to be worse than useless. It follows that gentle handling of the hair is important when dandruff is present. {389}

I.— Chloral hydrate 2 ounces

Resorcin 1 ounce

Tannin 1 ounce

Alcohol 8 ounces

Glycerine 4 ounces

Rose water to make 4 pints

II.— White wax 3 ¹/₂ drachms

Liquid petrolatum 2 ¹/₂ ounces

Rose water 1 ounce

Borax 15 grains

Precipitated sulphur 3 ¹/₂ drachms

Pine-Tar Dandruff Shampoo.—

Pine tar 4 parts

Linseed oil 40 parts

Heat these to 140° F.; make solution of potassa, U. S. P., 10 parts, and water, 45 parts; add alcohol, 5 parts, and gradually add to the heated oils, stirring constantly. Continue the heat until saponified thoroughly; and make up with water to 128 parts. When almost cool, add ol. lavender, ol. orange, and ol. bergamot, of each 2 parts.

Hair-curling Liquids.

It is impossible to render straight hair curly without the aid of the iron or paper and other curlers. But it is possible, on the other hand, to make artificial curls more durable and proof against outside influences, such as especially dampness of the air. Below are trustworthy recipes:

I II

Water 70 80

Spirit of wine 30 20

Borax 2 —

Tincture of benzoin — 3

Perfume ad. lib. ad. lib.

Hair Dressings And Washes:

Dressings for the Hair.—

I.— Oil of wintergreen. 20 drops

Oil of almond, essential 35 drops

Oil of rose, ethereal 1 drop

Oil of violets 30 drops

Tincture of cantharides 50 drops

Almond oil 2,000 drops

Mix.

Hair Embrocation.—

II.— Almond oil, sweet 280 parts

Spirit of sal ammoniac 280 parts

Spirit of rosemary 840 parts

Honey water 840 parts

Mix. Rub the scalp with it every morning by means of a sponge.

Hair Restorer.—

III.— Tincture of cantharides 7 parts

Gall tincture 7 parts

Musk essence 1 part

Carmine 0.5 part

Rectified spirit of wine 28 parts

Rose water 140 parts

To be used at night.

Rosemary Water.—

IV.— Rosemary oil 1 ¹/₂ parts

Rectified spirit of wine 7 parts

Magnesia 7 parts

Distilled water 1,000 parts

Mix the oil with the spirit of wine and rub up with the magnesia in a mortar; gradually add the water and finally filter.

Foamy Scalp Wash.—Mix 2 parts of soap spirit, 1 part of borax-glycerine (1+2), 6 parts of barium, and 7 parts of orange-flower water.

Lanolin Hair Wash.—Extract 4 parts quillaia bark with 36 parts water for several days, mix the percolate with 4 parts alcohol, and filter after having settled. Agitate 40 parts of the filtrate at a temperature at which wool grease becomes liquid, with 12 parts anhydrous lanolin, and fill up with water to which 15 per cent spirit of wine has been added, to 300 parts. Admixture, such as cinchona extract, Peru balsam, quinine, tincture of cantharides, bay-oil, ammonium carbonate, menthol, etc., may be made. The result is a yellowish-white, milky liquid, with a cream-like fat layer floating on the top, which is finely distributed by agitating.

Birch Water.—Birch water, which has many cosmetic applications, especially as a hair wash or an ingredient in hair washes, may be prepared as follows:

Alcohol, 96 per cent 3,500 parts

Water 700 parts

Potash soap 200 parts

Glycerine 150 parts

Oil of birch buds 50 parts

Essence of spring flowers 100 parts

Chlorophyll, q. s. to color.

Mix the water with 700 parts of the alcohol, and in the mixture dissolve the soap. Add the essence of spring flowers and birch oil to the remainder of the alcohol, mix well, and to the mixture add, little by little, and with constant agitation, the soap mixture. Finally {390} add the glycerine, mix thoroughly, and set aside for 8 days, filter and color the filtrate with chlorophyll, to which add a little tincture of saffron. To use, add an equal volume of water to produce a lather.

Petroleum Hair Washes.—I.—Deodorized pale petroleum, 10 parts; citronella oil, 10 parts; castor oil, 5 parts; spirit of wine, 90 per cent, 50 parts; water, 75 parts.

II.—Quinine sulphate, 10 parts; acetic acid, 4 parts; tincture of cantharides, 30 parts; tincture of quinine, 3 parts; spirit of rosemary, 60 parts; balm water, 90 parts; barium, 120 parts; spirit of wine, 150 parts; water, 1,000 parts.

III.—Very pure petroleum, 1 part; almond oil, 2 parts.

Brilliantine.—I.—Olive oil, 4 parts; glycerine, 3 parts; alcohol, 3 parts; scent as desired. Shake before use.

II.—Castor oil, 1 part; alcohol, 2 parts; saffron to dye yellow. Scent as desired.

III.—Lard, 7 parts; spermaceti, 7 parts; almond oil, 7 parts; white wax, 1 part.

A Cheap Hair Oil.—I.—Sesame oil or sunflower oil, 1,000 parts; lavender oil, 15 parts; bergamot oil, 10 parts; and geranium oil, 5 parts.

II.—Sesame oil or sunflower oil, 1,000 parts; lavender oil, 12 parts; lemon oil, 20 parts; rosemary oil, 5 parts; and geranium oil, 2 parts.

Hair Dyes.

There is no hair dye which produces a durable coloration; the color becomes gradually weaker in the course of time. Here are some typical formulas in which a mordant is employed:

I.—

Nitrate of silver ¹/₂ ounce

Distilled water 3 ounces

Mordant:

Sulphuret of potassium ¹/₂ ounce

Distilled water 3 ounces

II.—

(a) Nitrate of silver (crystal) 1 ¹/₂ ounces

Distilled water 12 ounces

Ammonia water sufficient to make a clear solution.

Dissolve the nitrate of silver in the water and add the ammonia water until the precipitate is redissolved.

(b) Pyrogallic acid 2 drachms

Gallic acid 2 drachms

Cologne water 2 ounces

Distilled water 4 ounces

III.—

Nitrate of silver 20 grains

Sulphate of copper 2 grains

Ammonia, quantity sufficient.

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