sugar in part of the water, then mix, add the juice and filter clear.
When the juice is not sufficiently sour, add a small amount of solution
of citric acid. To color, use caramel.

 II.—Vanilla extract           10 drops
      Oil of cinnamon           10 drops
      Oil of bitter almonds     10 drops
      Oil of cloves              3 drops
      Oil of nutmeg              3 drops
      Alcohol                2 1/2 pints
      Cherry juice           2 1/2 pints
      Simple syrup               3 pints

Dissolve the oils in the alcohol, then add the other ingredients and
filter clear. It is better to make this cordial during the cherry
season so as to obtain the fresh expressed juice of the cherry.

«Curacoa Cordials.»—

 I.—Curacoa orange peel      6 ounces
     Cinnamon               3/4 ounce
     Mace                 2 1/2 drachms
     Alcohol              3 1/2 pints
     Water                4 1/2 pints
     Sugar                   12 ounces

Mix the first three ingredients and reduce them to a coarse powder,
then mix with the alcohol and 4 pints of water and macerate for 8 days
with an occasional agitation, express, add the sugar and enough water
to make a gallon of finished product. Filter clear.

 II.—Curacoa or bitter orange peel    2 ounces
      Cloves                          80 grains
      Cinnamon                        80 grains
      Cochineal                       60 grains
      Oil of orange (best)             1 drachm
      Orange-flower water            1/2 pint
      Holland gin                      1 pint
      Alcohol                          2 pints
      Sugar                            3 pints
      Water, q. s.                     1 gallon

Reduce the solids to a coarse powder, add the alcohol and macerate 3
days. Then add the oil, gin, and 3 pints of water and continue the
maceration for 8 days more, agitating once a day, strain and add sugar
dissolved in balance of the water. Then add the orange-flower water and
filter.

«Kola Cordial.»—

 Kola nuts, roasted and powdered      7 ounces
 Cochineal powder                    30 grains
 Extract of vanilla                   3 drachms
 Arrac                                3 ounces
 Sugar                                7 pounds
 Alcohol                              6 pints
 Water, distilled                     6 pints

Macerate kola and cochineal with alcohol for 10 days, agitate daily,
add arrac, vanilla, and sugar dissolved in water. Filter.

«Kümmel Cordials.»—

 I.—Oil of caraway               30 drops
     Oil of peppermint             3 drops
     Oil of lemon                  3 drops
     Acetic ether                 30 drops
     Spirit of nitrous ether      30 drops
     Sugar                        72 ounces
     Alcohol                      96 ounces
     Water                        96 ounces

Dissolve the oils and ethers in the alcohol, and the sugar in the
water. Mix and filter.

 II.—Oil of caraway          20 drops
      Oil of sweet fennel      2 drops
      Oil of cinnamon          1 drop
      Sugar                   14 ounces
      Alcohol                  2 pints
      Water                    4 pints

Prepare as in Formula I.

«Orange Cordials.»—Many of the preparations sold under this name are
not really orange cordials, but are varying mixtures of uncertain
composition, possibly flavored with orange. The following are made by
the use of oranges:

 I.—Sugar         8 avoirdupois pounds
     Water     2 3/4 gallons
     Oranges      15

Dissolve the sugar in the water by the aid of a gentle heat, express
the oranges, add the juice and rinds to the syrup, put the mixture
into a cask, keep the whole in a warm place for 3 or 4 days, stirring
frequently, then close the cask, set aside in a cool cellar and draw
off the clear liquid.

II.—Express the juice from sweet oranges, add water equal to the volume
{765} of juice obtained, and macerate the expressed oranges with the
juice and water for about 12 hours. For each gallon of juice, add 1
pound of granulated sugar, grape sugar, or glucose, put the whole
into a suitable vessel, covering to exclude the dust, place in a warm
location until fermentation is completed, draw off the clear liquid,
and preserve in well-stoppered stout bottles in a cool place.

III.—Orange wine suitable for “soda” purposes may be prepared by mixing
3 fluidounces of orange essence with 13 fluidounces of sweet Catawba or
other mild wine. Some syrup may be added to this if desired.

«Rose Cordial.»—

 Oil of rose, very best      3 drops
 Palmarosa oil               3 drops
 Sugar                      28 ounces
 Alcohol                    52 ounces
 Distilled water, q. s.      8 pints

Dissolve the sugar in the water and the oils in the alcohol; mix the
solutions, color a rose tint, and filter clear.

«Spearmint Cordial.»—

 Oil of spearmint           30 drops
 Sugar                      28 ounces
 Alcohol                    52 ounces
 Distilled water, q. s.      8 pints

Dissolve the sugar in the water and the oil in the alcohol; mix the two
solutions, color green, and filter clear.

«Absinthe.»—

 I.—Oil of wormwood           96 drops
     Oil of star anise         72 drops
     Oil of aniseed            48 drops
     Oil of coriander          48 drops
     Oil of fennel, pure       48 drops
     Oil of angelica root      24 drops
     Oil of thyme              24 drops
     Alcohol (pure)           162 fluidounces
     Distilled water           30 fluidounces

Dissolve the oils in the alcohol, add the water, color green, and
filter clear.

 II.—Oil of wormwood          36 drops
      Oil of orange peel       30 drops
      Oil of star anise        12 drops
      Oil of neroli petate      5 drops
      Fresh oil of lemon        9 drops
      Acetic ether             24 drops
      Sugar                    30 avoirdupois ounces
      Alcohol, deodorized      90 fluidounces
      Distilled water          78 fluidounces

Dissolve the oils and ether in the alcohol and the sugar in the water;
then mix thoroughly, color green, and filter clear.

«DETANNATING WINE.»

According to Caspari, the presence of appreciable quantities of
tannin in wine is decidedly objectionable if the wine is to be used
in connection with iron and other metallic salts; moreover, tannin is
incompatible with alkaloids, and hence wine not deprived of its tannin
should never be used as a menstruum for alkaloidal drugs. The process
of freeing wines from tannin is termed detannation, and is a very
simple operation. The easiest plan is to add 1/2 ounce of gelatin
in number 40 or number 60 powder to 1 gallon of the wine, to agitate
occasionally during 24 or 48 hours, and then to filter. The operation
is preferably carried out during cold weather or in a cold apartment,
as heat will cause the gelatin to dissolve, and the maceration must
be continued until a small portion of the wine mixed with a few drops
of ferric chloride solution shows no darkening of color. Gelatin in
large pieces is not suitable, especially with wines containing much
tannin, since the newly formed tannate of gelatin will be deposited on
the surface and prevent further intimate contact of the gelatin with
the wine. Formerly freshly prepared ferric hydroxide was much employed
for detannating wine, but the chief objection to its use was due to
the fact that some iron invariably was taken up by the acid present in
the wine; moreover, the process was more tedious than in the case of
gelatin. As the removal of tannin from wine in no way interferes with
its quality—alcoholic strength and aroma remaining the same, and only
coloring matter being lost—a supply of detannated wine should be kept
on hand, for it requires very little more labor to detannate a gallon
than a pint.

If ferric hydroxide is to be used, it must be freshly prepared, and a
convenient quantity then be added to the wine—about 8 ounces of the
expressed, but moist, precipitate to a gallon.

«PREVENTION OF FERMENTATION.»

Fermentation may be prevented in either of two ways:

(1) By chemical methods, which consist in the addition of germ poisons
or antiseptics, which either kill the germs or prevent their growth. Of
these the principal ones used are salicylic, sulphurous, boracic, and
benzoic acids, formalin, fluorides, and saccharine. As these substances
are generally regarded as adulterants and injurious, their use is not
recommended.

(2) The germs are either removed by {766} some mechanical means such as
a filtering or a centrifugal apparatus, or they are destroyed by heat
or electricity. Heat has so far been found the most practical.

When a liquid is heated to a sufficiently high temperature all
organisms in it are killed. The degree of heat required, however,
differs not only with the particular kind of organism, but also with
the liquid in which it is held. Time is also a factor. An organism may
not be killed if heated to a high temperature and quickly cooled. If,
however, the temperature is kept at the same high degree for some time,
it will be killed. It must also be borne in mind that fungi, including
yeasts, exist in the growing and the resting states, the latter being
much more resistant than the former. One characteristic of the fungi
and their spores is their great resistance to heat when dry. In this
state they can be heated to 212° F. without being killed. The spores of
the common mold are even more resistant. This should be well considered
in sterilizing bottles and corks, which should be steamed to 240° F.
for at least 15 minutes.

Practical tests so far made indicate that grape juice can be safely
sterilized at from 165° to 176° F. At this temperature the flavor is
hardly changed, while at a temperature much above 200° F. it is. This
is an important point, as the flavor and quality of the product depend
on it.

Use only clean, sound, well-ripened, but not over-ripe grapes. If
an ordinary cider mill is at hand, it may be used for crushing and
pressing, or the grapes may be crushed and pressed with the hands. If
a light-colored juice is desired, put the crushed grapes in a cleanly
washed cloth sack and tie up. Then either hang up securely and twist
it or let two persons take hold, one on each end of the sack and twist
until the greater part of the juice is expressed. Next gradually heat
the juice in a double boiler or a large stone jar in a pan of hot
water, so that the juice does not come in direct contact with the fire
at a temperature of 180° to 200° F., never above 200° F. It is best to
use a thermometer, but if there be none at hand heat the juice until
it steams, but do not allow it to boil. Put it in a glass or enameled
vessel to settle for 24 hours; carefully drain the juice from the
sediment, and run it through several thicknesses of clean flannel, or
a conic filter made from woolen cloth or felt may be used. This filter
is fixed to a hoop of iron, which can be suspended wherever necessary.
After this fill into clean bottles. Do not fill entirely, but leave
room for the liquid to expand when again heated. Fit a thin board over
the bottom of an ordinary wash boiler, set the filled bottles (ordinary
glass fruit jars are just as good) in it, fill in with water around
the bottles to within about an inch of the tops, and gradually heat
until it is about to simmer. Then take the bottles out and cork or
seal immediately. It is a good idea to take the further precaution of
sealing the corks over with sealing wax or paraffine to prevent mold
germs from entering through the corks. Should it be desired to make red
juice, heat the crushed grapes to not above 200° F., strain through a
clean cloth or drip bag (no pressure should be used), set away to cool
and settle, and proceed the same as with light-colored juice. Many
people do not even go to the trouble of letting the juice settle after
straining it, but reheat and seal it up immediately, simply setting
the vessel away in a cool place in an upright position where they will
be undisturbed. The juice is thus allowed to settle, and when wanted
for use the clear juice is simply taken off the sediment. Any person
familiar with the process of canning fruit can also preserve grape
juice, for the principles involved are identical.

One of the leading defects so far found in unfermented juice is that
much of it is not clear, a condition which very much detracts from its
otherwise attractive appearance, and due to two causes already alluded
to. Either the final sterilization in bottles has been at a higher
temperature than the preceding one, or the juice has not been properly
filtered or has not been filtered at all. In other cases the juice has
been sterilized at such a high temperature that it has a disagreeable
scorched taste. It should be remembered that attempts to sterilize at
a temperature above 195° F. are dangerous so far as the flavor of the
finished product is concerned.

Another serious mistake is sometimes made by putting the juice into
bottles so large that much of it becomes spoiled before it is used
after the bottles are opened. Unfermented grape juice properly made and
bottled will keep indefinitely, if it is not exposed to the atmosphere
or mold germs; but when a bottle is once opened it should, like canned
goods, be used as soon as possible to keep from spoiling.

Another method of making unfermented grape juice, which is often {767}
resorted to where a sufficiently large quantity is made at one time,
consists in this:

Take a clean keg or barrel (one that has previously been made sweet).
Lay this upon a skid consisting of two scantlings or pieces of timber
of perhaps 20 feet long, in such a manner as to make a runway. Then
take a sulphur match, made by dipping strips of clean muslin about 1
inch wide and 10 inches long into melted brimstone, cool it and attach
it to a piece of wire fastened in the lower end of a bung and bent over
at the end, so as to form a hook. Light the match and by means of the
wire suspend it in the barrel, bung the barrel up tight, and allow it
to burn as long as it will. Repeat this until fresh sulphur matches
will no longer burn in the barrel.

Then take enough fresh grape juice to fill the barrel one-third full,
bung up tight, roll and agitate violently on the skid for a few
minutes. Next burn more sulphur matches in it until no more will burn,
fill in more juice until the barrel is about two-thirds full; agitate
and roll again. Repeat the burning process as before, after which fill
the barrel completely with grape juice and roll. The barrel should then
be bunged tightly and stored in a cool place with the bung up, and so
secured that the package cannot be shaken. In the course of a few weeks
the juice will have become clear and can then be racked off and filled
into bottles or jars direct, sterilized, and corked or sealed up ready
for use. By this method, however, unless skillfully handled, the juice
is apt to have a slight taste of the sulphur.

The following are the component parts of a California and a Concord
unfermented grape juice:

                              Concord  California
                                Per       Per
                                Cent      Cent

 Solid contents                20.37     20.60
 Total acids (as tartaric)       .663      .53
 Volatile acids                  .023      .03
 Grape sugar                   18.54     19.15
 Free tartaric acids             .025      .07
 Ash                             .255      .19
 Phosphoric acids                .027      .04
 Cream of tartar                 .55       .59

This table is interesting in so far that the California unfermented
grape juice was made from Viniferas or foreign varieties, whereas the
Concord was a Labruska or one of the American sorts. The difference
in taste and smell is even more pronounced than the analysis would
indicate.

Small quantities of grape juice may be preserved in bottles. Fruit is
likely to be dusty and to be soiled in other ways, and grapes, like
other fruits, should be well washed before using. Leaves or other
extraneous matter should also be removed. The juice is obtained by
moderate pressure in an ordinary screw press, and strained through
felt. By gently heating, the albuminous matter is coagulated and may
be skimmed off, and further clarification may be effected by filtering
through paper, but such filtration must be done as rapidly as possible,
using a number of filters and excluding the air as much as possible.

The juice so obtained may be preserved by sterilization, in the
following manner: Put the juice in the bottles in which it is to be
kept, filling them very nearly full; place the bottles, unstoppered,
in a kettle filled with cold water, so arranging them on a wooden
perforated “false bottom” or other like contrivance as to prevent their
immediate contact with the metal, this preventing unequal heating
and possible fracture. Now heat the water, gradually raising the
temperature to the boiling point, and maintain at that until the juice
attains a boiling temperature; then close the bottles with perfectly
fitting corks, which have been kept immersed in boiling water for a
short time before use.

The corks should not be fastened in any way, for, if the sterilization
is not complete, fermentation and consequent explosion of the bottle
may occur unless the cork should be forced out.

If the juice is to be used for syrup, as for use at the soda fountain,
the best method is to make a concentrated syrup at once, using about
2 pounds of refined sugar to 1 pint of juice, dissolving by a gentle
heat. This syrup may be made by simple agitation without heat; and a
finer flavor thus results, but its keeping quality would be uncertain.

The juices found in the market are frequently preserved by means of
antiseptics, but so far none have been proposed for this purpose which
can be considered entirely wholesome. Physiological experiments have
shown that while bodies suited for this purpose may be apparently
without bad effect at first, their repeated ingestion is likely to
cause gastric disturbance.

«SPARKLING WINES.»

An apparatus for converting still into foaming wines, and doing this
efficiently, simply, and rapidly, consists of a vertical steel tube,
which turns on an axis, and {768} bears several adjustable glass globes
that are in connection with each other by means of distributing valves,
the latter being of silver-plated bronze. The glass globes serve as
containers for carbonic acid, and are kept supplied with this gas from
a cylinder connected therewith.

The wine to be impregnated with the acid is taken from a cask, through
a special tube, which also produces a light pressure of carbonic
acid on the cask, the object of which is to prevent the access of
atmospheric air to the wine within, and, besides, to cause the liquid
to pass into the bottle without jar or stroke. The bottles stand under
the distributing valves, or levers, placed above and below them. Now,
if the cock, by means of which the glass bulbs and the bottles are
brought into connection, is slightly opened, and the desired lever is
put in action, the carbonic acid at once forces the air out of the
bottles, and sterilizes them. The upper bottles are now gradually
filled. The whole apparatus, including the filled bottles, is now
tilted over, and the wine, of its own weight, flows through collectors
filled with carbonic acid, and passes, impregnated with the gas, into
other bottles placed below. Each bottle is filled in course, the time
required for each being some 45 seconds. The saturation of the liquid
with carbonic acid is so complete and plentiful that there is no need
of hurry in corking.

By means of this apparatus any desired still wine is at once converted
into a sparkling one, preserving at the same time its own peculiarities
of taste, bouquet, etc. The apparatus may be used equally well upon
fruit juices, milk, and, in fact, any kind of liquid, its extreme
simplicity permitting of easy and rapid cleansing.

«ARTIFICIAL FRENCH BRANDY.»

I.—The following is Eugene Dieterich’s formula for _Spiritus vini
Gallici artificialis_:

 Tincture of gallapples       10 parts
 Aromatic tincture             5 parts
 Purified wood vinegar         5 parts
 Spirit of nitrous ether      10 parts
 Acetic ether                  1 part
 Alcohol, 68 per cent        570 parts
 Distilled water             400 parts

Mix, adding the water last, let stand for several days, then filter.

II.—The _Münchener Apotheker Verein_ has adopted the following formula
for the same thing:

 Acetic acid, dilute, 90 per cent      4 parts
 Acetic ether                          4 parts
 Tincture aromatic                    40 parts
 Cognac essence                       40 parts
 Spirit of nitrous ether              20 parts
 Alcohol, 90 per cent              5,000 parts
 Water, distilled                  2,500 parts

Add the acids, ethers, etc., to the alcohol, and finally add the water.
Let stand several days, and, if necessary, filter.

III.—The Berlin Apothecaries have adopted the following as a magistral
formula:

 Aromatic tincture                                   4 parts
 Spirit of nitrous ether                             5 parts
 Alcohol, 90 per cent                            1,000 parts
 Distilled water, quantity sufficient to make    2,000 parts

Mix the tincture and ether with the alcohol, add the water and for
every ounce add one drop of tincture of rhatany.

Of these formulas the first is to be preferred as a close imitation of
the taste of the genuine article. To imitate the color use burnt sugar.

«LIQUEURS.»

Many are familiar with the properties of liqueurs but believe them to
be very complex and even mysterious compounds. This is, of course, due
to the fact that the formulas are of foreign origin and many of them
have been kept more or less secret for some time. Owing to the peculiar
combination of the bouquet oils and flavors, it is impossible to make
accurate analyses of them. But by the use of formulas now given, these
products seem to be very nearly duplicated.

It is necessary to use the best sugar and oils obtainable in the
preparation of the liqueurs. As there are so many grades of essential
oils on the market, it is difficult to obtain the best indirectly. The
value of the cordials is enhanced by the richness and odor and flavor
of the oils, so only the best qualities should be used.

For filtering, flannel or felt is valuable. Flannel is cheaper and more
easily washed. It is necessary to return filtrate several times with
any of the filtering media.

As a clarifying agent talcum allowed to stand several days acts well.
These rules are common to all. {769}

The operations are all simple:

First: Heat all mixtures. Second: Keep the product in the dark. Third:
Keep in warm place.

The liqueurs are heated to ripen the bouquet flavor, it having effect
similar to age. To protect the ethereal oils, air and light are
excluded; hence it is recommended that the bottles be filled to the
stopper. The liqueurs taste best at a temperature not exceeding 55° F.
They are all improved with age, especially many of the bouquet oils.

«Bénédictine.»—

 I.—Bitter almonds               40 grams
     Powdered nutmeg           4.500 grams
     Extract vanilla             120 grams
     Powdered cloves               2 grams
     Lemons, sliced                2 grams
     True saffron               .600 grams
     Sugar                     2,000 grams
     Boiling milk              1,000 c.c.
     Alcohol, 95 per cent      2,000 c.c.
     Distilled water           2,500 c.c.

Mix. Let stand 9 days with occasional agitation. Filter sufficiently.

 II.—Essence Bénédictine          75 c.c
      Alcohol, 95 per cent      1,700 c.c.

Mix.

 Sugar                 1,750 grams
 Water, distilled      1,600 c.c.

Mix together, when clear solution of sugar is obtained. Color with
caramel. Filter sufficiently.

NOTE.—This liqueur should be at least 1 year old before used.

Essence Bénédictine for Bénédictine No. II.—

 I.—Myrrh                      1 part
     Decorticated cardamom      1 part
     Mace                       1 part
     Ginger                    10 parts
     Galanga root              10 parts
     Orange peel (cut)         10 parts
     Extract aloe               4 parts
     Alcohol                  160 parts
     Water                     80 parts

Mix, macerate 10 days and filter.

 II.—Extract licorice          20 parts
      Sweet spirits niter      200 parts
      Acetic ether              30 parts
      Spirits ammonia            1 part
      Coumarin                 .12 parts
      Vanillin                   1 part

 III.—Oil lemon               3 drops
       Oil orange peel         3 drops
       Oil wormwood          2.5 drops
       Oil galanga             2 drops
       Oil ginger              1 drop
       Oil anise              15 drops
       Oil cascarilla         15 drops
       Oil bitter almond      12 drops
       Oil milfoil            10 drops
       Oil sassafras           7 drops
       Oil angelica            6 drops
       Oil hyssop              4 drops
       Oil cardamom            2 drops
       Oil hops                2 drops
       Oil juniper             1 drop
       Oil rosemary            1 drop

Mix A, B, and C.

NOTE.—This essence should stand 2 years before being used for liqueurs.

«Chartreuse.»—I.—Elixir végétal de la Grande Chartreuse.

 Fresh balm mint herbs                         64 parts
 Fresh hyssop herbs                            64 parts
 Angelica herbs and root, fresh, together      32 parts
 Cinnamon                                      16 parts
 Saffron                                        4 parts
 Mace                                           4 parts

Subject the above ingredients to maceration for a week with alcohol
(96 per cent), 1,000 parts, then squeeze off and distill the liquid
obtained over a certain quantity of fresh herbs of balm and hyssop.
After 125 parts of sugar have been added to the resultant liqueur,
filter.

The genuine Chartreuse comes in three different colors, viz., green,
white, and yellow. The coloration, however, is not artificial, but is
determined by the addition of varying quantities of fresh herbs in the
distillation. But since it would require long and tedious trials to
produce the right color in a small manufacture, the yellow shade is
best imparted by a little tincture of saffron, and the green one by the
addition of a few drops of indigo solution.

 II.—Eau des Carmes       3 1/2 ounces
      Alcohol                  1 quart
      Distilled water          1 quart
      Sugar                1 1/2 pounds
      Tincture of saffron      1 ounce

Mix. Dissolve sugar in warm water, cool, strain, add remainder of
ingredients, and filter. This is known as yellow Chartreuse. {770}

«Curaçao Liqueur.»—

 A.—Oil lemon, q. s.             10 drops
     Oil bitter almond, q. s.      5 drops
     Oil curaçoa orange           15 parts
     Oil sweet orange              1 part
     Oil bitter orange             1 part
     Cochineal                     1 part
     French brandy                50 parts

 B.—Alcohol                   4,500 parts

 C.—Sugar                     3,500 parts
     Water (distilled)         4,000 parts

Mix A, B, and C. Filter. Color with caramel.

«May Bowl or May Wine.»—The principal ingredient of May bowl, or that
which gives it its flavor and bouquet, is fresh _Waldmeisterkraut_
(_Asperula odorata_), the “woodruff” or “sweet grass,” “star grass,”
and a dozen other aliases, of a plant growing wild all over Europe,
both continental and insular, and cultivated by some gardeners in
this country. It is accredited with being a diuretic, deobstruent and
hepatic stimulant, of no mean order, though it has long been banished
from the pharmacopœia.

In Baden and in Bavaria in preparing _Maitrank_ the practice was
formerly to first make an essence—_Maitrankessenz_, for the preparation
of which every housewife had a formula of her own. The following was
that generally used in the south of Germany:

 I.—Fresh, budding woodruff, cut fine      500 parts
     Alcohol, commercial (90 per cent)    1,000 parts

Digest together for 14 days, then filter and press off. Many add to
this some flavoring oil. As coumarin has been found to be the principle
to which the Waldmeister owes its odor, many add to the above Tonka
bean, chopped fine, 1 part to the thousand. From about 12 to 15 drachms
of this essence is added to make a gallon of the wine, which has about
the following formula:

 French brandy, say          4 drachms
 Oil of unripe oranges      80 drops
 Sugar                  4 to 8 ounces
 Essence                    12 drachms
 Wine to make                1 gallon

II.—Take enough good woodruff (_Waldmeister_) of fine aroma and flavor.
Remove all parts that will not add to the excellence of the product,
such as wilted, dead, or imperfect leaves, stems, etc., and wash the
residue thoroughly in cold water, and with as little pressure as
possible. Now choose a flask with a neck sufficiently wide to receive
the stems without pressing or bruising them, and let the pieces fall
into it. Pour in sufficient strong alcohol (96 per cent) to cover the
herbs completely. In from 30 to 40 minutes the entire aroma is taken
up by the alcohol, which takes on a beautiful green color, which,
unfortunately, does not last, disappearing in a few days, but without
affecting the aroma in the least. The alcohol should now be poured off,
for if left to macerate longer, while it would gain in aroma, it will
also take up a certain bitter principle that detracts from the delicacy
of flavor and aroma. The extract is now poured on a fresh quantity of
the herb, and continue proceeding in this manner until a sufficiently
concentrated extract is obtained to give aroma to 100 times its weight
of wine or cider.

III.—Fresh woodruff, in bloom or flower, is freed from the lower part
of its stem and leaves, and also of all foreign or inert matter. The
herb is then lightly stuck into a wide-mouth bottle, and covered with
strong alcohol. After 30 minutes pour off the liquor on fresh woodruff.
In another half hour the essence is ready, though it should not be used
immediately. It should be kept at cellar heat (about 60° F.) for a few
days, or until the green color vanishes. Any addition to the essence of
aromatics, such as orange peel, lemons, spices, etc., is to be avoided.
To prepare the Maitrank, add the essence to any good white wine,
tasting and testing, until the flavor suits.

The following are other formulas for the drink:

 IV.—Good white wine or cider    65 parts
      Alcohol, dilute             20 parts
      Sugar                       10 parts
      Maitrankessenz               1 part

Mix.

«Maraschino Liqueur.»—

 Oil bitter almonds          15 minims
 Essence vanilla              1 drachm
 Jasmine extract              2 drops
 Raspberry essence           10 drops
 Oil neroli                  10 drops
 Oil lemon                   15 minims
 Spirits nitrous ether        2 drachms
 Alcohol                      6 pints
 Sugar                        8 pounds
 Rose water                  10 ounces
 Water sufficient to make     2 gallons

Make a liquor in the usual manner.

«To Clarify Liqueurs.»—For the clarification of turbid liqueurs, burnt
{771} powdered alum is frequently employed. Make a trial with 200 parts
of the dim liqueur, to which 1.5 parts of burnt powdered alum is added;
shake well and let stand until the liquid is clear. Then decant and
filter the last portion. If the trial is successful, the whole stock
may be clarified in this manner.

«MEDICINAL WINES:»

«Beef and Iron.»—The following formula is recommended by the American
Pharmaceutical Association:

 I.—Extract of beef                         35 grams
     Tincture of citro-chloride of iron      35 c.c.
     Compound spirit of orange                1 c.c.
     Hot water                               60 c.c.
     Alcohol                                125 c.c.
     Syrup                                  125 c.c.
     Sherry wine sufficient to make       1,000 c.c.

Rub the extract of beef with the hot water, and add, while stirring,
the alcohol. Allow to stand 3 days or more, then filter and distill off
the alcohol. Add to the residue 750 cubic centimeters of the wine, to
which the compound spirit of orange has been previously added. Finally
add the tincture of citro-chloride of iron, syrup, and enough wine to
make 1,000 cubic centimeters. Filter if necessary.

II.—For Poultry and Stock.—A good formula for wine of beef and iron is
as follows:

 Beef extract                         256 grains
 Tincture of iron citro-chloride      256 minims
 Hot water                              1 fluidounce
 Sherry wine enough to make             1 pint

Pour the hot water in the beef extract and triturate until a smooth
mixture is made. To this add, gradually and under constant stirring, 12
ounces of the wine. Add now, under same conditions, the iron, stir in
well, and finally add the remainder of the wine.

«Cinchona.»—I.—Macerate 100 parts of cinchona succirubra in coarse
powder for 30 minutes in 100 parts of boiling water. Strain off
the liquor and set aside. Macerate the residuum in 1,000 parts of
California Malaga for 24 hours, strain off the liquid and set aside.
Finally macerate the magma in 500 parts of alcohol, of 50 per cent,
for 1 hour, strain off and set aside. Wash the residue with a little
water to recover all the alcoholic tincture; then unite all the
liquids, let stand for 24 hours, and filter. To the filtrate add 800
parts loaf sugar and dissolve by the aid of gentle heat and again
filter. The product is all that could be asked of a wine of cinchona.
To make a ferrated wine of this, dissolve 1 part of citro-ammoniacal
pyrophosphate of iron to every 1,000 parts of wine.

II.—Yvon recommends the following formula:

 Red cinchona, coarse powder      5 parts
 Alcohol, 60 per cent            10 parts
 Diluted hydrochloric acid        1 part
 Bordeaux wine                  100 parts

Macerate the bark with the acid and alcohol for 6 days, shaking
from time to time, add the wine, macerate for 24 hours, agitating
frequently, then filter.

«Removal of Musty Taste and Smell from Wine.»—For the removal of this
unpleasant quality, Kulisch recommends the use of a piece of charcoal
of about the size of a hazel nut—5 to 10 parts per 1,000 parts of wine.
After this has remained in the cask for 6 to 8 weeks, and during this
time has been treated once a week with a chain or with a stirring rod,
the wine can be racked off. Obstinate turbidness, as well as stalk
taste and pot flavor, can also be obviated by the use of the remedy.

«WINTERGREEN, TO DISTINGUISH METHYL SALICYLATE FROM OIL OF.»

A quantity of the sample is mixed in a test tube with an equal volume
of pure concentrated sulphuric acid. Under these conditions the
artificial compound shows no rise in temperature and acquires only a
slight yellowish tint, while with the natural oil there is a marked
rise in temperature and the mixture assumes a rose-red color, gradually
passing into darker shades.

«WIRE ROPE.»

See also Steel.

A valuable anti-friction and preservative compound for mine cables
is as follows: Seven parts soft tallow and 3 parts plumbago, mixed
thoroughly; make a long, hollow box or trough, gouge out a 4 by 6 piece
of scantling about 2 feet long, sawing it down lengthwise and hollowing
out the box or trough enough to hold several pounds of the compound,
making also a hole lengthwise of the {772} trough for the cable to
run through; then affix to rope and clamp securely, having the box or
trough so fixed that it cannot play, and letting the cable pass through
it while going up or down, so that it will get a thorough coating.
This, it is found, will preserve a round cable very well, and can be
used at least once a week. For a flat steel cable raw linseed oil can
be used instead of the tallow, in about the proportion of 6 parts oil
and 3 plumbago. If tar is used, linseed oil is to be added to keep the
tar from adhering, both ingredients to be mixed while warm.

To preserve wire rope laid under ground, or under water, coat it with
a mixture of mineral tar and fresh slaked lime in the proportion of 1
bushel of lime to 1 barrel of tar. The mixture is to be boiled, and the
rope saturated with it while hot; sawdust is sometimes added to give
the mixture body. Wire rope exposed to the weather is coated with raw
linseed oil, or with a paint composed of equal parts of Spanish brown
or lampblack with linseed oil.

WIRE HARDENING: See Steel.

WITCH-HAZEL JELLY: See Cosmetics.

«Wood»

«DECORATIVE WOOD-FINISH.»

Paint or stencil wood with white-lime paint. When it has dried slowly
in the shade, brush it off and a handsome dark-brown tone will be
imparted to the oakwood. Some portions which may be desired darker and
redder are stained again with lime, whereby these places become deeper.
It is essential that the lime be applied in even thickness and dried
slowly, for only then the staining will be red and uniform.

After the staining saturate the wood with a mixture of varnish, 2
parts; oil of turpentine, 1 part; turpentine, 1/2 part. When the oil
ground is dry apply 2 coatings of pale amber varnish.

Colored decorations on pinewood can be produced as follows:

The most difficult part of the work is to remove the rosin
accumulations without causing a spot to appear. Burn out the places
carefully with a red-hot iron. Great care is necessary to prevent the
iron from setting the rosin on fire, thus causing black smoke clouds.

The resulting holes are filled up with plaster to which a little
light ocher is added to imitate the shade of the wood as perfectly as
possible. Plaster up no more than is necessary.

Rub the wood down with very fine sandpaper, taking especial care to rub
only with the grain of the wood, since all cross scratches will remain
permanently visible.

After this preliminary work cover the wood with a solution of white
shellac, in order not to injure the handsome golden portions of the
wood and to preserve the pure light tone of the wood in general.

On this shellac ground paint and stencil with glazing colors, ground
with isinglass solution. The smaller, more delicate portions, such
as flowers and figures, are simply worked out in wash style with
water colors, using the tone of the wood to remain as high lights,
surrounding the whole with a black contour.

After this treatment the panels and decorated parts are twice varnished
with dammar varnish. The friezes and pilaster strips are glazed darker
and set off with stripes; to varnish them use amber varnish.

The style just mentioned does not exclude any other. Thus, for
instance, a very good effect is produced by decorating the panels only
with a black covering color or with black and transparent red (burnt
sienna and a little carmine) after the fashion of boule work in rich
ornaments, in such a way that the natural wood forms the main part and
yet quite a considerable portion of the ornament.

Intarsia imitation is likewise well adapted, since the use of
variegated covering colors is in perfect keeping with the decoration
of natural wood. How it should be applied, and how much of it, depends
upon one’s taste, as well as the purpose and kind of the object.

It is a well-known fact that the large pores of oak always look rather
smeary, according to whether the workshop is more or less dusty. If
this is to be avoided, which is essential for neat work, take good
wheat starch, pound it fine with a hammer and stir by means of a wooden
spatula good strong polish with the wheat starch to a paste and work
the paste into the pores by passing it cross-wise over the wood. After
about 1/2 hour, rub down the wood thus treated in such a manner that
the pores are filled. In case any open pores remain, repeat the process
as before. After that, rub down, polish or deaden. If this operation is
not performed, the pores will always look somewhat dirty, despite all
{773} care. Every cabinetmaker will readily perceive that this filling
of the pores will save both time and polish in the subsequent finishing.

«WOOD FILLERS.»

The novice in coach painting is quite as likely to get bewildered as
to be aided by much of the information given about roughstuff, the
more so as the methods differ so widely. One authority tells us to use
a large proportion of lead ground in oil with the coarser pigment,
while another says use dry lead and but a small percentage, and still
another insists that lead must be tabooed altogether. There are withal
a good many moss-grown superstitions associated with the subject. Not
the least of these is the remarkably absorbent nature which the surface
that has been roughstuffed and “scoured” is supposed to possess. By
many this power of absorption is believed to be equal to swallowing up,
not only all the color applied, but at least 3 coats of varnish, and
none of these would think of applying a coat of color to a roughstuffed
surface without first giving it a coat of liquid filler as a sort of
sacrificial oblation in recognition of this absorbing propensity.
Another authority on the subject has laid down the rule that in the
process of scouring, the block of pumice stone must always be moved in
one direction, presumably for the reason that some trace of the stone
is likely to be visible after the surface is finished.

If the block of stone is scratching, perhaps the appearance of the
finished panel may be less objectionable with the furrows in parallel
lines than in what engravers call “cross-hatching,” but if the rubbing
is properly done it is not easy to discover what difference it could
make whether the stone is moved in a straight line or a circle. As to
absorption, it cannot be distinguished in the finished panel between
the surface that was coated with liquid filler and that to which the
color was applied directly, except that cracking always occurs much
sooner in the former, and this will be found to be the case with
surfaces that have been coated with liquid filler and finished without
roughstuff. Among the pigments that may be used for roughstuff, and
there are half a dozen or more, any of which may be used with success,
there is no doubt but that known as “English filler” is best, but it is
not always to be had without delay and inconveniences.

Yellow ocher, Reno umber and Keystone filler are all suitable for
roughstuff, the ocher having been used many years for the purpose,
but, as already remarked, the English filler is best. This is the
rule for mixing given by Nobles and Hoare: Four pounds filler, 1
pound ground white lead, 1 pint gold size, 1 pint varnish and 1 1/4
pints turpentine, or 3/4 pint good size and 1/2 pint boiled oil
in lieu of the varnish. In regard to the use of white lead ground in
oil, it makes the rubbing more laborious, increases the liability
to scratching, and requires a much longer time to harden before the
scouring can be done, without in any appreciable manner improving the
quality of the surface when finished.

It may be remarked here that the addition of white lead, whether
ground in oil or added dry to the coarser pigment, increases the labor
of scouring just in proportion as it is used until sufficient may be
used to render the scouring process impossible; hence, it follows that
the mixing should be governed by the character of the job in hand. If
the job is of a cheap class the use of very little or no lead at all
is advisable, and the proportion of Japan and turpentine may also be
increased, with the result that a fairly good surface may be obtained
with much less labor than in the formula given.

The number of coats of filler required to effect the purpose in any
given case must depend upon how well the builder has done his part
of the work. If he has left the surface very uneven it follows, as a
matter of course, that more coats will be required to make it level,
and more of the roughstuff will remain after the leveling process than
if the woodwork had been more perfectly done. While the merits of a
system or method are not to be judged by its antiquity, there should be
a good reason to justify the substitution of a new method for one that
has given perfect satisfaction for generations and been used by the
best coach painters who ever handled a brush.

A well-known writer on paints says that the effect of a varnish is
usually attributed to the manner of its application and the quantity
of thinners used for diluting the melted gums, with the prepared oils
and the oxidizing agents used in its manufacture. While this has
undoubtedly much to do with the successful application of varnish,
there are other facts in this connection that should not be overlooked.
For example, varnish is sometimes acted on by the breaking up, or the
disintegration of the filling coats; which in turn is evidently acted
on by the wood itself, according to its nature. {774}

With the aid of the microscope in examining the component parts of
wood a cellular tissue is observed which varies in form according to
the species and the parts which are inspected. This cellular tissue is
made up of small cavities called pores or cells, which are filled with
a widely diversified matter and are covered with a hard and usually
brittle substance called _lignin_.

This diversified matter consists of mineral salts and various
organic substances, gelatinous in their nature and held in solution
by a viscous liquid and containing nitrogenous matter in different
combinations, the whole being designated by the general name of
albuminous substances. The older the wood the more viscous is the
matter; while wood of recent growth (sapwood) contains less viscous
matter holding these substances in solution. This albumen in wood acts
on substances like filler and varnish in one way or the other, good
or bad. The seasoning of wood does not dispose of these substances.
The water evaporates, leaving them adhering to the sides of the cells.
The drier these substances are the less action they exert on the
filler or whatever substance is coated on the surface. If the filler
disintegrates, it affects the varnish.

All albuminous substances, be they dry or in liquid form, are subject,
more or less, according to the protein they contain—which seems, or
rather is, the essential principle of all albuminous matter—to the
influence of caustic potash and soda. Thus, the albumen of an egg is
exactly like that contained in the composition of wood. As albumen in
wood becomes solid by drying, it is easily dissolved again, and will
then be acted on chemically by any extraneous substance with which it
comes in contact.

Some of the shellacs, substitutes for shellacs, and some of the liquid
fillers are manufactured from some of the following substances: Old
linseed oil, old varnish, old and hard driers, turpentine, benzine,
often gasoline, rosin, whiting, cornstarch flour, nulls, paint
skins, silica, and so on. The list is long. To these must be added a
large volume of potash, to bring it to and hold it in solution. There
must be an excess of potash which is not combined into a chemical
compound, which if it did, might mitigate its influence on the albumen
of the wood. But as there is potash in its pure state remaining in
the solution it necessarily attacks the albumen of the wood, causing
disintegration, which releases it from the wood, causing white, grayish
flakes, and the formation of a powder. This is not a conclusion drawn
from an inference but an established scientific fact resulting from
experiments with fillers the various compositions of which were known.
All alkalies act on albumen. No one would knowingly varnish over a
surface such as it would be were the white of an egg applied to it and
then washed with an alkali solution; but that is just what is done when
varnish is put over a wood surface filled with a filler which contains
an alkali.

Most of the combinations of material used in the painting trade are
mixtures; that is, each part remains the same—exerting the same
chemical action on another substance, or any other substance coming in
contact with a paint mixture will exert the same chemical action on any
part, or on any ingredient it contains, the same as if that part was by
itself.

We can now account for some of the numerous peculiarities of varnish.
We know that any alkali when coming in contact with albumen forms
a compound, which on drying is a white, brittle substance easily
disintegrated. This is why potash, sal soda, and kindred substances
will remove paint. The alkali attacks the albumen in the oil, softening
it, causing easy removal, whereas if it were allowed to dry, the
albumen in the oil would take on a grayish color quite brittle. Potash
or other alkalies in filler not only attack the albumen in the wood,
but also attack the albumen in the oil by forming a compound with it.
Probably this compound is very slight, only forming a compound in
part, enough, nevertheless, to start a destroying influence, which is
demonstrated by the following results of experiments. The reader has,
perhaps, some time in his career applied a rosin varnish over a potash
filler and has been surprised by the good results, a more permanent
effect being obtained than in other instances where the best of varnish
was used. This is accounted for by the rosin of the potash. Again, the
reader may have had occasion to remove varnish with potash and found
that potash would not touch it. This is because of its being a rosin
varnish. Potash in filler may be rendered somewhat inert, by reason
of its compounding with other parts of the filler, but owing to the
quantity used in some of the commercial fillers it is not possible that
all the alkali is rendered inert. Hence it will attack the albumen
wherever found, as all albumen is identical in its chemical composition.

Alkalies have but little effect on the {775} higher classes of gums,
because of their effect on the albumen in the wood and oil. All
alcohol varnishes or varnishes made by the aid of heat stand well over
an alkali filler. Varnishes which contain little oil seem to stand
well. This is accounted for by the fact that alcohol renders albumen
insoluble. Alkalies of all kinds readily attack shellac and several
other of the cheap gums, forming unstable compounds on which oil has
but little effect.

Close-grained wood contains less albumen and more lignin than
open-grained varieties, and consequently does not take so much filler,
which accounts for the finish invariably lasting longer than the same
kind used on an open-grained wood. Open-grained wood contains more sap
than close grained; consequently there is more albumen to adhere to the
sides of the cells. The more albumen, the more readily it is attacked
by the potash, and the more readily decomposed, or rather destroyed.

Alcohol renders albumen insoluble immediately on application. It
prevents it from compounding with any other substance, or any
other substance compounding with it. Hence, we must conclude that
an application of alcohol to wood before the filler is applied is
valuable, which is proven to be a fact by experiment. Wash one half of
a board with alcohol, then apply the potash filler over all. Again,
wash the portion of the board on which is the filler and apply a
heavy-bodied oil varnish. Expose to sunlight and air the same as a
finished door or the like, and wait for the result. At the end of a few
months a vast difference will be found in the two parts of the surface.
The one on which there is no alcohol will show the ravages of time and
the elements much sooner than the one on which it is.

Wood finishers demand a difference in the composition of fillers,
paste and liquid, for open- and close-grained wood, respectively; but
unfortunately they do not demand a difference between either kind
in themselves, according to the kind of wood. Paste fillers are used
indiscriminately for open-grained wood and liquid for close-grained
wood.

To find the fillers best adapted for a certain wood, and to classify
them in this respect will require a large amount of chemical work and
practical experiments; but that it should be done is evidenced by the
fact that both success and failure result from the use of the same
filler on different varieties of wood. After once being classified
(owing to the large number now on the market), they will not number
nearly so many in the aggregate as might be supposed; as it will be
found in many instances that two entirely different varieties of wood
resemble each other more closely in their vascular formation and cell
characteristics than do two other specimens of the same variety. It is
a recognized fact that paste fillers whose base is starch or the like
work better and give better results in certain instances, while those
whose base is mineral matter seem to do better in other cases.

It is noticed that rosewood as a finishing veneer is obsolete.
This is not because of its scarcity, but because it is so hard to
finish without having been seasoned for a long time. In these days,
manufacturers cannot wait. It takes longer for the sap of rosewood
to become inactive, or in trade parlance to “die,” than any other
wood. This is because it takes so long for the albumen in the sap
to coagulate. Rosewood has always been a source of trouble to piano
makers, on account of the action of the sap on the varnish. However,
if this wood, previously to filling, was washed with a weak solution
of phosphoric acid, and then with wood spirit, it might be more easily
finished. The phosphoric acid would coagulate the albumen on the
surface of the wood immediately, while alcohol would reduce it to an
insoluble state. The idea here is to destroy the activity of the sap,
on the same principle as sappy places and knot sap are destroyed by
alcohol-shellac before being painted.

Oak is another wood which gives the painter trouble to finish. This may
be accounted for as follows: Oak contains a sour acid principle called
tannic acid. It is a very active property. Wood during the growing
season contains more albumen; thus in the circulation of the sap a
large quantity of soft matter is deposited on the lignin which lines
the cells, which lignin, if it contains any acid matter, acts on the
material of the filler. Tannic acid has a deleterious effect on some
of the material of which a number of fillers are made. Starch and many
gums are susceptible to its influence, making some of them quite soft.
Oak, like most other timber cut at the season when the least sap is in
circulation, is the more easily finished.

The vascular formation may, and no doubt has, something to do with
wood finishing. Different species of wood differ materially in their
vascular and cellular formation. Wood finishers recognize a difference
in treatment of French burl walnut and the common American {776}
variety. Circassian and Italian walnut, although of the same species,
demand widely different treatment in finishing to get the best results.

The only way to find the best materials to use in certain cases is to
study and experiment with that end in view. If, by aid of a microscope,
a certain piece of wood shows the same cellular formation that another
piece did which was successfully finished by a certain process, it may
be regarded as safe to treat both alike. If observation on this line is
indulged in, it will not take the finisher very long to learn just what
treatment is best for the work in hand. How often it has been noticed
in something of two parts, like a door, that the panels when finished
will pit, run, or sag, while the sides will present a surface in every
way desirable and _vice versa_. This is due to the difference in the
cellular construction of the wood and to the cellulose, and cannot be
otherwise for the parts have been seasoned the same time and treated
exactly alike. The physiology of wood is imperfectly understood,
but enough is known to warrant us in saying with a certainty that
the chemicals in fillers do act upon the principles embodied in its
formation.

Some tried formulas follow:

I.—Make a paste to fill the cracks as follows: Old furniture polish:
Whiting, plaster of Paris, pumice stone, litharge, equal parts, Japan
drier, boiled linseed oil, turpentine, coloring matter, of each a
sufficient quantity.

Rub the solids intimately with a mixture of 1 part of the Japan, 2
parts of the linseed oil, and 3 parts of turpentine, coloring to suit
with vandyke brown or sienna. Lay the filling on with a brush, let it
set for about 20 minutes, and then rub off clean except where it is to
remain. In 2 days it will be hard enough to polish. After the surface
has been thus prepared, the application of a coat of first-class copal
varnish is in order. It is recommended that the varnish be applied in a
moderately warm room, as it is injured by becoming chilled in drying.
To get the best results in varnishing, some skill and experience are
required. The varnish must be kept in an evenly warm temperature, and
put on neither too plentifully nor too gingerly. After a satisfactorily
smooth and regular surface has been obtained, the polishing proper may
be done. This may be accomplished by manual labor and dexterity, or by
the application of a very thin, even coat of a very fine, transparent
varnish.

If the hand-polishing method be preferred, it may be pursued by rubbing
briskly and thoroughly with the following finishing polish:

 Alcohol            8 ounces
 Shellac            2 drachms
 Gum benzoin        2 drachms
 Best poppy oil     2 drachms

Dissolve the shellac and gum in the alcohol in a warm place, with
frequent agitation, and, when cold, add the poppy oil. This may be
applied on the end of a cylindrical rubber made by tightly rolling a
piece of flannel, which has been torn, not cut, into strips 4 to 6
inches wide. It should be borne in mind that the surface of the cabinet
work of a piano is generally veneered, and this being so, necessitates
the exercise of much skill and caution in polishing.

II.—Prepare a paste from fine starch flour and a thick solution of
brown shellac, with the spatula upon a grinding stone, and rub the
wooden object with this. After the drying, rub off with sandpaper and
polish lightly with a rag moistened with a thin shellac solution and a
few drops of oil. The ground thus prepared varnish once or twice and a
fine luster will be obtained. This method is well adapted for any wood
with large pores, such as oak.

«Removal of Heat Stains from Polished Wood.»—Fold a sheet of blotting
paper a couple of times (making 4 thicknesses of the paper), cover the
place with it, and put a hot smoothing iron thereon. Have ready at hand
some bits of flannel, also folded and made quite hot. As soon as the
iron has made the surface of the wood quite warm, remove the paper,
etc., and go over the spot with a piece of paraffine, rubbing it hard
enough to leave a coating of the substance. Now with one of the hot
pieces of flannel rub the injured surface. Continue the rubbing, using
freshly warmed cloths until the whiteness leaves the varnish or polish.
The operation may have to be repeated.

«PRESERVATION OF WOOD.»

I.—An excellent way of preserving wood is to cut it between August
and October. The branches are removed, leaving only the leaves at the
top. The trunks, carefully cut or sawn (so that their pores remain
open), are immediately placed upright, with the lower part immersed in
tanks three-quarters filled with water, into which 3 or 4 kilograms of
powdered cupric sulphate per hectoliter have been introduced. The mass
of {777} leaves left at the extremity of each trunk is sufficient to
cause the ascent of the liquid by means of the capillary force and a
reserve of energy in the sap.

II.—Wood which can be well preserved may be obtained by making a
circular incision in the bark of the trees a certain time before
cutting them down. The woodcutters employed in the immense teak forests
of Siam have adopted in an empirical way a similar process, which has
been productive of good results. The tree is bled, making around the
trunk, at the height of 4 feet above ground, a circular incision 8
inches wide and 4 inches deep, at the time when it is in bloom and the
sap rising. Sometimes the tree is left standing for 3 years after this
operation. Frequently, also, a deep incision reaching the heart is made
on two opposite sides, and then it takes sometimes only 6 months to
extract the sap.

It is probable that it is partly in consequence of this method that the
teakwood acquires its exceptional resistance to various destructive
agents.

III.—A good preservation of piles, stakes, and palisades is obtained
by leaving the wood in a bath of cupric sulphate of 4° of the ordinary
acidimeter for a time which may vary from 8 to 15 days, according to
greater or less dryness of the wood and its size. After they are half
dried they are immersed in a bath of lime water; this forms with the
sulphate an insoluble compound, preventing the rain from dissolving the
sulphate which has penetrated the wood. This process is particularly
useful for vine props and the wood of white poplars.

A good way to prevent the decay of stakes would be to plant them upside
down; that is, to bury the upper extremity of the branch in the ground.
In this way, the capillary tubes do not so easily absorb the moisture
which is the cause of decay. It frequently happens that for one or
another reason, the impregnation of woods designed to be planted in
the ground, such as masts, posts, and supports has been neglected. It
would be impracticable, after they are placed, to take up these pieces
in order to coat them with carbolineum or tar, especially if they are
fixed in a wall, masonry, or other structure. Recourse must be had to
other means. Near the point where the piece rises from the ground,
a hole about one centimeter in width is made in a downward slanting
direction, filled with carbolineum, and closed with a wooden plug.

It depends upon the consistency of the wood whether the liquid will
be absorbed in 1 or 2 days. The hole is filled again for a week. The
carbolineum replaces by degrees the water contained in the wood. When
it is well impregnated, the hole is definitely closed with a plug
of wood, which is sawn level with the opening. The wood will thus
be preserved quite as well as if it had been previously coated with
carbolineum.

IV.—Wooden objects remaining in the open air may be effectually
protected against the inclemency of the weather by means of the
following coating: Finely powdered zinc oxide is worked into a paste
with water and serves for whitewashing walls, garden fences, benches,
and other wooden objects. After drying, probably at the end of 2 or
3 hours, the objects must be whitewashed again with a very dilute
solution of zinc chloride in glue or water. Zinc oxide and zinc
chloride form a brilliant, solid compound, which resists the inclemency
of the weather.

As a paint for boards, planks for covering greenhouses, garden-frames,
etc., Inspector Lucas, of Reutlingen (Würtemberg), has recommended the
following coating: Take fresh cement of the best quality, which has
been kept in a cool place, work it up with milk on a stone until it is
of the consistency of oil paint. The wood designed to receive it must
not be smooth, but left rough after sawing. Two or 3 coats are also a
protection from fire. Wood to be thus treated must be very dry.

V.—Wood treated with creosote resists the attacks of marine animals,
such as the teredo. Elm, beech, and fir absorb creosote very readily,
provided the wood is sound and dry. Beechwood absorbs it the best. In
fir the penetration is complete, when the wood is of a species of rapid
growth, and of rather compact grain. Besides, with the aid of pressure
it is always possible to force the creosote into the wood. Pieces of
wood treated with creosote have resisted for 10 or 11 years under
conditions in which oak wood not treated in this way would have been
completely destroyed.

The prepared wood must remain in store at least 6 months before use.
The creosote becomes denser during this time and causes a greater
cohesion in the fibers. In certain woods, as pitch pine, the injection
is impossible, even under pressure, on account of the presence of rosin
in the capillary vessels.

VI.—M. Zironi advises heating the wood {778} _in vacuo_. The sap
is eliminated in this way. Then the receiver is filled with rosin
in solution with a hydrocarbide. The saturation takes place in two
hours, when the liquid is allowed to run off, and a jet of vapor is
introduced, which carries off the solvent, whole the rosin remains in
the pores of the wood, increasing its weight considerably.

VII.—Wood can be well preserved by impregnating it with a solution of
tannate of ferric protoxide. This method is due to Hazfeld.

VIII.—The Hasselmann process (xylolized wood), which consists in
immersing the wood in a saline solution kept boiling under moderate
pressure, the liquid containing copper and iron sulphates (20 per cent
of the first and 80 per cent of the second), as well as aluminum and
kainit, a substance until recently used only as a fertilizer, is now
much employed on the railways in Germany.

IX.—Recently the discovery has been made that wood may be preserved
with dissolved betuline, a vegetable product of the consistency of
paste, called also birchwood rosin. Betuline must first be dissolved.
It is procurable in the crude state at a low price. The wood is
immersed for about 12 hours in the solution, at a temperature of from
57° to 60° F.

After the first bath the wood is plunged into a second, formed of
a solution of pectic acid of 40° to 45° Bé., and with a certain
percentage of an alkaline carbonate—for instance, potassium carbonate
of commerce—in the proportion of 1 part of carbonate to about 4 parts
of the solution. The wood remains immersed in this composition for
12 hours; then it is taken out and drained from 8 to 15 hours, the
time varying according to the nature of the wood and the temperature.
In consequence of this second bath, the betulin which was introduced
through the first immersion, is fixed in the interior of the mass. If
it is desirable to make the wood more durable and to give it special
qualities of density, hardness, and elasticity, it must be submitted
to strong pressure. In thus supplementing the chemical with mechanical
treatment, the best results are obtained.

X.—A receiver of any form or dimensions is filled with a fluid
whose boiling point is above 212° F., such as heavy tar oil, saline
solutions, etc. This is kept at an intermediate temperature varying
between 212° F. and the boiling point; the latter will not be reached,
but if into this liquid a piece of wood is plunged, an agitation
analogous to boiling is manifested, produced by the water and sap
contained in the pores of the wood. These, under the action of a
temperature above 212° F., are dissolved into vapor and traverse the
bath.

If the wood is left immersed and a constant temperature maintained
until every trace of agitation has disappeared, the water in the
pores of the wood will be expelled, with the exception of a slight
quantity, which, being in the form of vapor, represents only the
seventeen-hundredth part of the original weight of the water contained;
the air which was present in the pores having been likewise expelled.

If the liquid is left to cool, this vapor is condensed, forming a
vacuum, which is immediately filled under the action of the atmospheric
pressure. In this way the wood is completely saturated by the contents
of the bath, whatever may be its form, proportions or condensation.

To attain the desired effect it is not necessary to employ heavy oils.
The latter have, however, the advantage of leaving on the surface of
the prepared pieces a kind of varnish, which contributes to protect
them against mold, worms, moisture, and dry rot. The same phenomenon
of penetration is produced when, without letting the wood grow cold in
the bath, it is taken out and plunged immediately into a cold bath of
the same or of a different fluid. This point is important, because it
is possible to employ as fluids to be absorbed matters having a boiling
point below 212° F., and differing in this respect from the first bath,
which must be composed of a liquid having a boiling point above 212° F.

If, instead of a cold bath of a homogeneous nature, two liquids of
different density separated in two layers, are employed, the wood can,
with necessary precautions, be immersed successively in them, so
that it can be penetrated with given quantities of each. Such liquids
are heavy tar oil and a solution of zinc chloride of 2° to 4° Bé. The
first, which is denser, remains at the bottom of the vessel, and the
second above. If the wood is first immersed in a saline solution, it
penetrates deep into the pores, and when finally the heavy oil is
absorbed, the latter forms a superficial layer, which prevents the
washing out of the saline solution in the interior, as well as the
penetration of moisture from the outside. {779}

XI.—Numerous experiments have been made with all kinds of wood, even
with hard oak. In the preparation of oak railway ties it was discovered
that pieces subjected to a temperature of 212° F. in a bath of heavy
tar oil for 4 hours lost from 6 to 7 per cent of their weight,
represented by water and albuminous substances, and that they absorbed
in heavy oil and zinc chloride enough to represent an increase of from
2 to 3 per cent on their natural original weight. The oak wood in
question had been cut for more than a year and was of a density of 1.04
to 1.07.

This system offers the advantage of allowing the absorption of
antiseptic liquids without any deformation of the constituent elements
of the wood, the more as the operation is performed altogether in open
vessels. Another advantage is the greater resistance of the wood to
warping and bending, and to the extraction of metallic pieces, such as
nails, cramp irons, etc.

XII.—In the Kyanizing process seasoned timber is soaked in a solution
of bichloride of mercury (corrosive sublimate) which coagulates the
albumen. The solution is very poisonous and corrodes iron and steel,
hence is unsuited for structural purposes in which metallic fastenings
are used. The process is effective, but dangerous to the health of the
workers employed.

XIII.—The Wellhouse process also uses zinc chloride, but adds a
small percentage of glue. After the timber has been treated under
pressure the zinc chloride solution is drawn off and one of tannin is
substituted. The tannin combines with the glue and forms an insoluble
substance that effectually seals the pores.

XIV.—The Allardyce process makes use of zinc chloride and dead oil of
tar, the latter being applied last, and the manner of application being
essentially the same for both as explained in the other processes.

XV.—The timber is boiled in a solution of copper, iron, and aluminum
sulphate, to which a small quantity of kainit is added.

XVI.—In the creo-rosinate process the timber is first subjected to a
steaming process at 200° F. to evaporate the moisture in the cells;
the temperature is then gradually increased to 320° F. and a pressure
of 80 pounds per square inch. The pressure is slowly reduced to 26
inches vacuum, and then a solution of dead oil of tar, melted rosin,
and formaldehyde is injected. After this process the timber is placed
in another cylinder where a solution of milk of lime is applied at a
temperature of 150° F. and a pressure of 200 pounds per square inch.

XVII.—The vulcanizing process of treating timber consists essentially
in subjecting it to a baking process in hot air which is heated to a
temperature of about 500° F. by passing over steam coils. The heat
coagulates the albumen, expels the water from the cells, kills the
organisms therein, and seals the cells by transforming the sap into a
preservative compound. This method is used with success by the elevated
railway systems of several cities.

XVIII.—A durable coating for wood is obtained by extracting petroleum
asphalt, with light petroleum, benzine, or gasoline. For this purpose
the asphalt, coarsely powdered, is digested for 1 to 2 days with
benzine in well-closed vessels, at a moderately warm spot. Petroleum
asphalt results when the distillation of petroleum continued until a
glossy, firm, pulverizable mass of conchoidal fracture and resembling
colophony in consistency remains. The benzine dissolves from this
asphalt only a yellowish-brown dyestuff, which deeply enters the wood
and protects it from the action of the weather, worms, dry rot, etc.
The paint is not opaque, hence the wood retains its natural fiber. It
is very pleasant to look at, because the wood treated with it keeps
its natural appearance. The wood can be washed off with soap, and is
especially suited for country and summer houses.

XIX.—A liquid to preserve wood from mold and dry rot which destroys the
albuminous matter of the wood and the organisms which feed on it, so
there are neither germs nor food for them if there were any, is sold
under the name of carbolineum. The specific gravity of a carbolineum
should exceed 1.105, and should give the wood a fine brown color. It
should, too, be perfectly waterproof. The three following recipes can
be absolutely relied on: _a._ Heat together and mix thoroughly 95
pounds of coal-tar oil and 5 pounds of asphalt from coal tar. _b._
Amalgamate together 30 pounds of heavy coal-tar oil, 60 pounds of crude
wood-tar oil, and 25 pounds of heavy rosin oil. _c._ Mix thoroughly 3
pounds of asphalt, 25 pounds of heavy coal-tar oil, and 40 pounds of
heavy rosin oil.

XX.—Often the wooden portions of machines are so damaged by dampness
prevailing in the shops that the {780} following compound will be found
useful for their protection: Melt 375 parts of colophony in an iron
vessel, and add 10,000 parts of tar, and 500 parts of sulphur. Color
with brown ocher or any other coloring matter diluted with linseed oil.
Make a first light application of this mixture while warm, and after
drying apply a second coat.

XXI.—For enameling vats, etc., 1,000 parts of brown shellac and 125
parts of colophony are melted in a spacious kettle. After the mass has
cooled somewhat, but is still thinly liquid, 6.1 parts of alcohol (90
per cent) is gradually added. In order to prevent the ignition of the
spirit vapor, the admixture of spirit is made at a distance from the
stove. By this addition the shellac swells up into a semi-liquid mass,
and a larger amount of enamel is obtained than by dissolving it cold.
The enamel may be used for wood or iron.

The wood must be well dried; only then will the enamel penetrate into
the pores. Two or three coats suffice to close up the pores of the wood
thoroughly and to render the surface smooth and glossy. Each coating
will harden perfectly in several hours. The covering endures a heat
of 140° to 150° F. without injury. This glaze can also be mixed with
earth colors. Drying quickly and being tasteless, its applications
are manifold. Mixed with ocher, for instance, it gives an elegant and
durable floor varnish, which may safely be washed off with weak soda
solution. If it is not essential that the objects be provided with
a smooth and glossy coating, only a preservation being aimed at the
following coat is recommended by the same source: Thin, soluble glass
(water glass) as it is found in commerce, with about 24 per cent of
water, and paint the dry vessel rather hot with this solution. When
this has been absorbed, repeat the application, allow to dry, and coat
with a solution of about 1 part of sodium bicarbonate in 8 parts of
water. In this coating silicic acid is separated by the carbonic acid
of the bicarbonate; from the water glass (sodium silicate) absorbed
by the pores of the wood, which, as it were, silicifies the wooden
surfaces, rendering them resistive against the penetration of liquids.
The advantages claimed for both processes are increased durability and
facilitated cleaning.

XXII.—Tar paints, called also mineral or metallic paints, are sold in
barrels or boxes, at varying prices. Some dealers color them—yellow
ocher, red ocher, brown, gray, etc. They are prepared by mixing equal
parts of coal tar and oil of turpentine or mineral essence (gasoline).
The product, if it is not colored artificially, is of a brilliant
black, even when cold. It dries in a few hours, especially when
prepared with oil of turpentine. The paints with mineral essence are,
however, generally preferred, on account of their lower cost. Either
should be spread on with a hard brush, in coats as thin as possible.
They penetrate soft woods, and even semi-hard woods sufficiently deep,
and preserve them completely. They adhere perfectly to metals. Their
employment can, therefore, be confidently advised, so far as concerns
the preservation directly of iron cables, reservoirs, the interior
surface of generators, etc. However, it has been shown that atmospheric
influence or variations of temperature cause the formation of
ammoniacal solutions, which corrode the metals. Several companies for
the care and insurance of steam engines have for some time recommended
the abandonment of tar products for applications of this kind and the
substitution of hot linseed oil.

XXIII.—Coal-tar paints are prepared according to various formulas. One
in current use has coal tar for a base, with the addition of gum rosin.
It is very black. Two thin coats give a fine brilliancy. It is employed
on metals, iron, sheet iron, etc., as well as on wood. It dries much
quicker than the tars used separately. Its preserving influence against
rust is very strong.

The following Tissandier formula has afforded excellent results. Its
facility of preparation and its low cost are among its advantages. Mix
10 parts of coal tar, 1 to 1.6 parts of slaked lime, 4,000 parts of oil
of turpentine, and 400 parts of strong vinegar, in which 1/5 part
of cupric sulphate has been previously boiled. The addition of 2 or 3
cloves of garlic in the solution of cupric sulphate aids in producing
a varnish, brilliant as well as permanent. The compound can be colored
like ordinary paints.

XXIV.—Rectified rosinous oil for painting must not be confounded with
oils used in the preparation of lubricants for metallic surfaces
exposed to friction. It contains a certain quantity of rosin in
solution, which, on drying, fills the pores of the wood completely, and
prevents decomposition from the action of various saprophytic fungi.
It is well adapted to the preservation of pieces to be buried in the
ground or exposed to the inclemency {781} of the weather. Paints can
also be prepared with it by the addition of coloring powders, yellow,
brown, red, green, blue, etc., in the proportion of 1 kilo to 5 liters
of oil. The addition ought to take place slowly, while shaking, in
order to obtain quite a homogeneous mixture. Paints of this kind are
economical, in consequence of the low price of rosin, but they cannot
be used in the interior of dwellings by reason of the strong and
disagreeable odor disengaged, even a long time after their application.
As an offset, they can be used like tar and carbonyl, for stalls,
stables, etc.

«To Prevent Warping.»—Immerse the wood to be worked upon in a
concentrated solution of sea salt for a week or so. The wood thus
prepared, after having been worked upon, will resist all changes of
temperature.

«STAINS FOR WOOD.»

In the staining of wood it is not enough to know merely how to prepare
and how to apply the various staining solutions; a rational exercise of
the art of wood staining demands rather a certain acquaintance with the
varieties of wood to be operated upon, a knowledge of their separate
relations to the individual stains themselves; for with one and the
same stain very different effects are obtained when applied to the
varying species of wood.

Such a diversity of effects arises from the varying chemical
composition of wood. No unimportant rôle is played by the presence in
greater or lesser quantities of tannin, which acts chemically upon
many of the stains and forms with them various colored varnishes in
the fibers. Two examples will suffice to make this clear. (1) Let us
take pine or fir, in which but little of the tanning principle is
found, and stain it with a solution of 50 parts of potassium chromate
in 1,000 parts of pure water; the result will be a plain pale yellow
color, corresponding with the potassium chromate, which is not fast
and as a consequence is of no value. If, with the same solution, on
the contrary, we stain oak, in which the tanning principle is very
abundant, we obtain a beautiful yellowish-brown color which is capable
of withstanding the effects of both light and air for some time; for
the tannin of the oak combines with the penetrating potassium chromate
to form a brown dyestuff which deposits in the woody cells. A similar
procedure occurs in the staining of mahogany and walnut with the
chromate because these varieties of wood are very rich in tannin.

(2) Take some of the same pine or fir and stain it with a solution of
20 parts of sulphate of iron in 1,000 parts of water and there will be
no perceptible color. Apply this stain, however, to the oak and we get
a beautiful light gray, and if the stain be painted with a brush on the
smoother oaken board, in a short time a strong bluish-gray tint will
appear. This effect of the stain is the result of the combination of
the green vitriol with the tannin; the more tannin present, the darker
the stain becomes. The hardness or density of the wood, too, exerts
a marked influence upon the resulting stain. In a soft wood, having
large pores, the stain not only sinks further in, but much more of
it is required than in a hard dense wood; hence in the first place a
stronger, greasier stain will be obtained with the same solution than
in the latter.

From this we learn that in soft woods it is more advisable to use a
thinner stain to arrive at a certain tone; while the solution may be
made thicker or stronger for hard woods.

The same formula or the same staining solution cannot be relied upon
to give the same results at all times even when applied to the same
kinds of wood. A greater or lesser amount of rosin or sap in the wood
at the time the tree is felled, will offer more or less resistance to
the permeating tendencies of the stain, so that the color may be at one
time much lighter, at another darker. Much after the same manner we
find that the amount of the tanning principle is not always equal in
the same species of wood.

Here much depends upon the age of the tree as well as upon the
climatic conditions surrounding the place where it grew. Moreover,
the fundamental color of the wood itself may vary greatly in examples
of the same species and thus, particularly in light, delicate shades,
cause an important delay in the realization of the final color tone.
Because of this diversification, not only in the different species
of wood, but even in separate specimens of the same species, it is
almost impossible always, and at the first attempt, to match a certain
predetermined color.

It is desirable that trials at staining should first be made upon
pieces of board from the same wood as the object to be stained; the
results of such experiments furnishing exact data concerning the
strength and composition of the stain to be employed for the exact
reproduction of a prescribed color. {782} Many cases occur in which the
color tone obtained by staining cannot always be judged directly after
applying the stain. Especially is this the case when stain is employed
which slowly develops under the action of the air or when the dyestuff
penetrates only slowly into the pores of the wood. In such cases the
effect of the staining may only be fully and completely appreciated
after the lapse of 24 or 48 hours.

Wood that has been stained should always be allowed 24 or 48 hours to
dry in ordinary temperatures, before a coat of varnish, polish, or wax
is applied. If any dampness be left in the wood this will make itself
apparent upon the varnish or polish. It will become dull, lose its
glossy appearance, and exhibit white spots which can only be removed
with difficulty. If a certain effect demand the application of two or
more stains one upon the other, this may only be done by affording each
distinct coat time to dry, which requires at least 24 hours.

Not all the dyes, which are applicable to wood staining, can be
profitably used together, either when separately applied or mixed. This
injunction is to be carefully noted in the application of coal tar or
aniline colors.

Among the aniline dyes suitable for staining woods are two groups—the
so-called acid dyes and the basic dyes. If a solution of an acid dye be
mixed with a basic dye the effect of their antagonistic dispositions is
shown in the clouding up of the stain, a fine precipitate is visible
and often a rosin-like separation is noticeable.

It is needless to say that such a staining solution is useless for
any practical purpose. It cannot penetrate the wood fibers and would
present but an unseemly and for the most part a flaky appearance.
In preparing the stains it is therefore of the greatest importance
that they remain lastingly clear. It would be considerably of
advantage, before mixing aniline solutions of which the acid or basic
characteristics are unknown, to make a test on a small scale in a
champagne glass and after standing a short time carefully examine the
solution. If it has become cloudy or wanting in transparency it is a
sign that a separation of the coloring matter has taken place.

The mixing of acid or basic dyestuffs even in dry powdered form is
attended with the same disadvantages as in the state of solubility, for
just as soon as they are dissolved in water the reactions commence and
the natural process of precipitation takes place with all its attending
disagreeable consequences.

«COLOR STAINS:»

«Bronze.»—I.—Prepare first a thin glue size by soaking good animal glue
over night in cold water and melting it next morning in the usual water
bath. Strain it, before using, through old linen or cheese cloth into a
clean vessel. Sandpaper smooth and dust the articles, then apply with a
soft bristle brush 2 or 3 coats of the size, allowing sufficient time
for each coat to harden before applying the next. Now, a ground coat
made by thoroughly mixing finely bolted gilders’ whiting and glue size
is applied, and when this has become hard it is rubbed to a smooth,
even surface with selected fine pumice, and then given 1 coat of thin
copal varnish. When this is nearly but not quite dry, the bronze powder
is applied with a suitable brush or wad of cotton, and when dry the
surplus bronze is removed with the same tool. If collected on clean
paper, the dusted-off bronze powder may be used again.

II.—Diluted water-glass solution makes a good ground for bronze. Bronze
powder is sprinkled on from a wide-necked glass tied up with gauze, and
the excess removed by gently knocking. The bronze powder adheres so
firmly after drying that a polish may be put on by means of an agate.
The process is especially useful for repairing worn-off picture frames,
book ornamentations, etc. The following bronze ground also yields good
results: Boil 11,000 parts of linseed oil with 25 parts of impure zinc
carbonate, 100 parts of red lead, 25 parts of litharge, and 0.3 parts
of mercuric chloride, until a drop taken out will stand like a pea upon
a glass surface. Before complete cooling, the mass is diluted with oil
of turpentine to a thick syrup.

«Ebony Stains.»—I.—To 1 pint of boiling water add 3/4 ounce of
copperas and 1 ounce logwood chips. Apply this to the wood hot. When
the surface has dried thoroughly wet it with a solution composed of 7
ounces steel filings dissolved in 1/4 pint of vinegar.

II.—Give the wood several applications of a stout decoction of logwood
chips, finishing off with a free smear of vinegar in which rusty nails
have been for some time submerged.

III.—In 1 quart of water boil 1/4 pound of logwood chips,
subsequently adding 1/2 ounce pearl ash, applying the mixture {783}
hot. Then again boil the same quantity of logwood in the same quantity
of water, adding 1/4 ounce of verdigris and 1/4 ounce of copperas,
after which strain and put in 1/4 pound of rusty steel filings.
With this latter mixture coat the work, and, should the wood not be
sufficiently black, repeat the application.

«Metallic Luster.»—A valuable process to impart the luster of metal to
ordinary wood, without injuring its natural qualities, is as follows:
The wood is laid, according to its weight, for 3 or 4 days in a caustic
alkaline solution, such as, for instance, of calcined soda, at a
temperature of 170° F. Then it is at once placed in a bath of calcium
hydrosulphite, to which, after 24 to 36 hours, a saturated solution
of sulphur in caustic potash is added. In this mixture the wood is
left for 48 hours at 100° to 120° F. The wood thus prepared, after
having been dried at a moderate temperature, is polished by means of
a smoothing iron, and the surface assumes a very handsome metallic
luster. The effect of this metallic gloss is still more pleasing
if the wood is rubbed with a piece of lead, zinc, or tin. If it is
subsequently polished with a burnisher of glass or porcelain, the wood
gains the brilliancy of a metallic mirror.

«Nutwood.»—One part permanganate of potassium is dissolved in 30 parts
clear water; with this the wood to be stained is coated twice. After an
action of 5 minutes, rinse off with water, dry, oil, and polish. It is
best to prepare a fresh solution each time.

«Oak.»—I.—Water-color stains do not penetrate deep enough into wood
to make the effect strong enough, hence solutions of other material
than color are being employed for the purpose. Aqua ammonia alone,
applied with a rag or brush repeatedly, will darken the color of oak
to a weathered effect, but it is not very desirable, because of its
tendency to raise the grain. Bichromate of potash, dissolved in cold
water, applied in a like manner, until the desired depth is obtained,
will serve the purpose. These washes or solutions, however, do not give
the dark, almost black, effect that is at the present time expected for
weathered oak, and in order to produce this, 4 ounces of logwood chips
and 3 ounces of green copperas should be boiled together in 2 quarts of
water for 40 minutes and the solution applied hot. When this has dried
it should be gone over with a wash made from 4 ounces steel filings and
1 pint of strong vinegar. The steel filings are previously put into
the vinegar and allowed to stand for several days. This will penetrate
into the wood deeply, and the stain will be permanent. Picture-frame
manufacturers use a quick-drying stain, made from aniline blacks.

II.—Dissolve 1/4 part of permanganate of potassium in 1,000 parts
of cold water and paint the wood with the violet solution obtained.
As soon as the solution comes in contact with the wood it decomposes
in consequence of chemical action, and a handsome light-brown
precipitate is produced in the wood. The brushes used must be washed
out immediately, as the permanganate of potassium destroys animal
bristles, but it is preferable to use sponges or brushes of glass
threads for staining. Boil 2 parts of cutch in 6 parts of water for 1
hour, stir while boiling, so that the rosiniferous catechu cannot burn
on the bottom of the vessel; strain the liquid as soon as the cutch
is dissolved, through linen, and bring again to a boil. Now dissolve
therein 1/5 part of alum, free from iron; apply the stain while hot,
and cover after the drying, with a solution of 1 part of bichromate of
potassium in 25 parts of water.

«Rosewood.»—First procure 1/2 pound logwood, boiling it in 3 pints
water. Continue the boiling until the liquid assumes a very dark color,
at which point add 1 ounce salt of tartar. When at the boiling point
stain your wood with 2 or 3 coats, but not in quick succession, as the
latest coat must be nearly dry before the succeeding one is applied.
The use of a fiat graining brush, deftly handled, will produce a very
excellent imitation of dark rosewood.

«Silver Gray.»—This stain is prepared by dissolving 1 part of
pyrogallic acid in 25 parts of warm water and the wood is coated with
this. Allow this coating to dry and prepare, meanwhile, a solution of
2 parts of green vitriol in 50 parts of boiling water, with which the
first coating is covered again to obtain the silver-gray shade.

«Walnut.»—I.—Prepare a solution of 6 ounces of a solution of
permanganate of potassium, and 6 ounces of sulphate of magnesia in
2 quarts of hot water. The solution is applied on the wood with a
brush and the application should be repeated once. In contact with
the wood the permanganate decomposes, and a handsome, lasting walnut
color results. If small pieces of wood are to be thus stained, a very
dilute bath is prepared {784} according to the above description, then
the wooden pieces are immersed and left therein from 1 to 5 minutes,
according to whether a lighter or darker coloring is desired.

II.—One hundredweight Vandyke brown, ground fine in water, and 28
pounds of soda, dissolved in hot water, are mixed while the solutions
are hot in a revolving mixer. The mixture is then dried in sheet-iron
trays.

«Yellow.»—The wood is coated with a hot concentrated solution of picric
acid, dried, and polished. (Picric acid is poisonous.)

«IMITATION STAINS.»

Yellow, green, blue, or gray staining on wood can be easily imitated
with a little glazing color in oil or vinegar, which will prove better
and more permanent than the staining. If the pores of the wood are
opened by a lye or a salt, almost any diluted color can be worked into
it. With most stains the surface is thus prepared previously.

«Light-Fast Stains.»—Stains fast to light are obtained by saturating
wood in a vacuum chamber, first with dilute sulphuric acid, then with
dilute alkali to neutralize the acid, and finally with a solution
with or without the addition of a mordant. The action of the acid is
to increase the affinity of the wood for dye very materially. As wood
consists largely of cellulose, mercerization, which always increases
the affinity of that substance for dyes, may be caused to some extent
by the acid.

«SPIRIT STAINS:»

«Black.»—

 I.—White shellac          12 ounces
     Vegetable black         6 ounces
     Methylated spirit       3 pints

 II.—Lampblack              1 pound
      Ground iron scale      5 pounds
      Vinegar                1 gallon

«Mahogany Brown.»—Put into a vessel, say 4 pounds of bichromate of
potash, and as many ounces of burnt umber, let it stand a day or two,
then strain or lawn for use.

«Vandyke Brown.»—

 Spirit of wine           2 pints
 Burnt umber              3 ounces
 Vandyke brown color      1 ounce
 Carbonate of soda        1 ounce
 Potash                 1/2 ounce

«Mahogany.»—Rub the wood with a solution of nitrous acid, and then
apply with a brush the following:

 I.—Dragon’s blood        1 ounce
     Sodium carbonate      6 drachms
     Alcohol              20 ounces

Filter just before use.

II.—Rub the wood with a solution of potassium carbonate, 1 drachm to a
pint of water, and then apply a dye made by boiling together:

 Madder               2 ounces
 Logwood chips      1/2 ounce
 Water                1 quart

«Maple.»—

 I.—Pale button lac        3 pounds
     Bismarck brown       1/8 ounce
     Vandyke brown        1/2 ounce
     Gamboge                4 ounces
     Methylated spirit      1 gallon

II.—Use 1 gallon of methylated spirit, 4 ounces gamboge (powdered),
1/2 ounce Vandyke brown, 1 drachm Bismarck brown, 3 pounds shellac.

«Maroon.»—To produce a rich maroon or ruby, steep red Janders wood in
rectified naphtha and stir into the solution a little cochineal; strain
or lawn for use.

«Turpentine Stains.»—Turpentine stains are chiefly solutions of
oil-soluble coal-tar dyes in turpentine oil, with small quantities of
wax also in solution. They do not roughen the wood, making a final
polishing unnecessary. They enter the wood slowly, so that an even
stain, especially on large surfaces, is secured. The disadvantages of
turpentine stains are the lack of permanence of the coloring, when
exposed to light and air, and their high price.

«Varnish Stains.»—Shellac is the chief article forming the basis of
varnish stains the coloring matter being usually coal tar or aniline
dyes, as they give better results than dye wood tincture. To prevent
the varnish stain being too brittle, the addition of elemi rosin is a
much better one than common rosin, as the latter retards the drying
quality, and if too much be used, renders the stain sticky.

«Water Stains.»—Water stains are solutions of chemicals, dye extracts,
astringent substances, and coal-tar dyes in water. They roughen the
wood, a disadvantage, however, which can be remedied to a large extent
by previous treatment, as follows: The wood is moistened with a wet
sponge, allowed to dry, {785} and then rubbed with sandpaper, or made
smooth by other agencies. This almost entirely prevents roughening of
the surface by the stain. Another disadvantage of these stains is that
they are rapidly absorbed by the wood, which makes an even staining of
large surfaces difficult. For this too there is a remedy. The surface
of the wood is rubbed all over evenly with raw linseed oil, applied
with a woolen cloth, allowed to dry, and then thoroughly smoothed with
sandpaper. The water stain, applied with a sponge, now spreads evenly,
and is but slightly absorbed by the wood.

Among good water stains are the long-known Cassel brown and nut brown,
in granules. Catechine is recommended for brown shades, with tannin or
pyrogallic acid and green vitriol for gray. For bright-colored stains
the tar-dyes azine green, croceine scarlet, Parisian red, tartrazine,
water-soluble nigrosin, walnut, and oak brown are very suitable. With
proper mixing of these dyes, all colors except blue and violet can
be produced, and prove very fast to light and air, and superior to
turpentine stains. Only the blue and violet dyes, methyl blue, naphthol
blue, and pure violet, do not come up to the standard, and require a
second staining with tannin.

A very simple method of preparing water stains is as follows: Solutions
are made of the dyes most used, by dissolving 500 parts of the dye in
10,000 parts of hot water, and these are kept in bottles or casks.
Any desired stain can be prepared by mixing proper quantities of the
solutions, which can be diluted with water to make lighter stains.

«Stains for Wood Attacked by Alkalies or Acids.»—

 _Solution A_

 Copper sulphate         125 grams
 Potassium chlorate      125 grams
 Water                 1,000 cu. cm.

Boil until all is dissolved.

 _Solution B_

 Aniline hydrochloride       150 grams
 Water                     1,000 cu. cm

Apply Solution A twice by means of a brush, allowing time to dry after
each coat; next, put on Solution B and let dry again. On the day
following, rub on a little oil with a cloth and repeat this once a
month.

«SUBSTITUTES FOR WOOD.»

I.—Acetic paraldehyde or acetic aldehyde respectively, or polymerized
formaldehyde is mixed with methylic alcohol and carbolic acid, as well
as fusel oil saturated with hydrochloric acid gas or sulphuric acid gas
or methylic alcohol, respectively, are added to the mixture. The mass
thus obtained is treated with paraffine. The final product is useful as
a substitute for ebonite and wood as well as for insulating purposes.

II.—“Carton Pierre” is the name of a mass which is used as a substitute
for carved wood. It is prepared in the following manner: Glue is
dissolved and boiled; to this, tissue paper in suitable quantity is
added, which will readily go to pieces. Then linseed oil is added, and
finally chalk is stirred in. The hot mass forms a thick dough which
crumbles in the cold, but softens between the fingers and becomes
kneadable, so that it can be pressed into molds (of glue, gypsum, and
sulphur). After a few days the mass will become dry and almost as hard
as stone. The paper imparts to it a high degree of firmness, and it is
less apt to be injured than wood. It binds well and readily adheres to
wood.

III.—Wood Pulp.—The boards for painters’ utensils are manufactured in
the following manner: The ordinary wood fiber (not the chemical wood
cellulose) is well mixed with soluble glass of 33° Bé., then spread
like cake upon an even surface, and beaten or rolled until smooth.
Before completely dry, the cake is removed, faintly satined (for
various other purposes it is embossed) and finally dried thoroughly
at a temperature of about 133° F., whereupon the mass may be sawed,
carved, polished, etc., like wood.

Any desired wood color can be obtained by the admixture of the
corresponding pulverized pigment to the mass. The wood veining is
produced by placing a board of the species of timber to be imitated, in
vinegar, which causes the soft parts of the wood to deepen, and making
an impression with the original board thus treated upon the wood pulp
when the latter is not quite hard. By means of one of these original
boards (with the veins embossed), impressions can be made upon a large
number of artificial wood plates. The veins will show to a greater
advantage if the artificial wood is subsequently saturated and treated
with colored oil, colored stain and colored polish, as is done with
palettes.

WOOD, ACID-PROOF: See Acid-Proofing.

WOOD CEMENTS: See Adhesives. {786}

WOOD, CHLORINE-PROOFING: See Acid-Proofing.

WOOD, FIREPROOFING: See Fireproofing.

WOOD GILDING: See Plating.

WOOD, IMITATION: See Plaster.

WOOD POLISHES: See Polishes.

WOOD RENOVATORS: See Cleaning Preparations and Methods under Paint,
Varnish, and Enamel Removers.

WOOD, SECURING METALS TO: See Adhesives.

WOOD, WATERPROOFING: See Waterproofing.

WOOD’S METAL: See Alloys.

WOOL FAT: See Fats.

WORM POWDER FOR STOCK: See Veterinary Formulas.

«WRITING, RESTORING FADED:»

Writing on old manuscripts, parchments, and old letters that has faded
into nearly or complete invisibility can be restored by rubbing over
it a solution of ammonium sulphide, hydrogen sulphide or of “liver
of sulphur.” On parchment the restored color is fairly permanent but
on paper it does not last long. The letters however could be easily
retraced, after such treatment, by the use of India ink and thus made
permanent. This treatment will not restore faded aniline ink. It only
works with ink containing a metal-like iron that forms a black sulphide.

WRINKLES, REMOVAL OF: See Cosmetics.

«Yeast»

«DRY YEAST.»

Boil together for 1/2 hour, 95 parts of the finest, grated hops and
4,000 parts of water. Strain. Add to the warm liquor 1,750 parts of
rye meal or flour. When the temperature has fallen to that of the room
add 167 parts of good yeast. On the following day the mass will be in
a state of fermentation. While it is in this condition add 4,000 parts
of barley flour, so as to form a dough. This dough is cut up into thin
disks, which are dried as rapidly as possible in the open air or sun.
For use, the disks are broken into small pieces and soaked overnight in
warm water. The yeast can be used on the following day as if it were
ordinary brewers’ yeast.

«PRESERVATION OF YEAST.»

I.—The yeast is laid in a vessel of cold water which is thereupon
placed in a well-ventilated, cool spot. In this manner the yeast can be
preserved for several weeks. In order to preserve the yeast for several
months a different process must be followed. The yeast, after having
been pressed, is thoroughly dried. For this purpose the yeast is cut up
into small pieces which are rolled out, placed on blotting paper, and
allowed to dry in a place which is not reached by the sun. These rolls
are then grated, again dried, and finally placed in glass bottles.
For use, the yeast is dissolved, whereupon it immediately regains its
freshness. This process is particularly to be recommended because it
preserves the yeast for a long period.

II.—For liquid yeast add one-eighth of its volume in glycerine. In the
case of compressed yeast, the cakes are to be covered with glycerine
and kept in closed vessels. Another method of preserving compressed
yeast is to mix it intimately with animal charcoal to a dough, which
is to be dried by exposure to sunlight. When it is to be used, it is
treated with water, which will take up the ferment matter, while the
charcoal will be deposited. Liquid and compressed yeast have been kept
for a considerable time, without alteration, by saturating the former
with chloroform and keeping the latter under chloroform water.

«YEAST TESTS.»

I.—Pour a few drops of yeast into boiling water. If the yeast sinks, it
is spoiled; if it floats, it is good.

II.—To 1 pound yeast add 1/2 tablespoonful of corn whisky or brandy,
a pinch of sugar, and 2 tablespoonfuls of wheat flour. Mix thoroughly
and allow the resultant compound to stand in a warm place. If the yeast
is good it will rise in about an hour.

YEAST AND FERTILIZERS: See Fertilizers.

YELLOW (CHROME), TEST FOR: See Pigments. {787}

«INDEX»

 A

 Absinthe, 765

 Absolute Alcohol, 45

 Abrasion Remedy, 225, 486

 Acacia, Mucilage of, 43

 Acid-free Soldering Fluid, 659

 Acid-proof Alloy, 62
   Cement, 26
   Corks, 10
   Glass, 374

 Acid-proofing, 9

 Acid-proof Pastes, 38
   Putty, 607
   Table Top, 9

 Acid Receptacles, Lining for, 10

 Acid-resisting Paint, 499

 Acids, Soldering, 656

 Acid Stains Removed, 184
   Test for Gold, 432
     for Vinegar, 358

 Aconite-Monkshood Poison, 93

 Adhesion, 105
   Belt Pastes for Increasing, 105

 Adhesive Paste, 37, 39

 Adhesives, 10

 Advertising Matter, to Scent, 510

 Adulterants in Foods, 348

 Adulteration of Linseed Oil, 460
   of Wax, 753

 Adurol Developer, 527

 Affixing Labels to Glass, 42

 Agar Agar Paste, 37

 Agate, Buttons of Artificial, 44

 Agate (Imitation), 370

 Age of Eggs, 283

 Aging of Silk, 639

 Agricultural Sources of Industrial Alcohol, 668

 Air Bath, 44
   Bubbles in Gelatine, 370
   Exclusion of, 553

 Air-purifying, 44

 Albata Metal, 63

 Albumen, 34
   in Urine, Detection of, 44
   Paste, 37

 Alcohol, 44
   Absolute, 45
   Defined, 667
   Deodorized, 45, 514
   Dilution of, 45, 703
   in Beer, 45
   Manufacture, 667, 674
   Solid, 45
   Tests for Absolute, 45

 Ale, 46
   Ginger, 107

 Alfenide Metal, 63

 Alkali Blue and Nicholson’s Blue Dye, 267

 Alkalis and Their Salts Poison, 93

 Alkaline Glycerine of Thymol, 100

 Alkaloids, Antidotes to, 102

 Alkermes Cordial, 763

 Alloy, Acid-proof, 62
   for Caliper and Gage-rod Castings, 80
   for Watch Pinion Sockets, 736
   Lipowitz’s, 61
   Moussets’, 76

 Alloys, 47
   Copper, Silver, Cadmium, 76
   for Casting Coins, etc., 62
   for Cementing Glass, 52
   for Drawing Colors on Steel, 80
   for Metal Foil, 474
   for Small Casting Molds, 80
   having a Density, 48
   Silver, Nickel, Zinc, 76
   Tin, 77
   Unclassified, 80

 Almond Blossom Perfumery, 518
   Cold Cream, 235
   Extracts, 312
   Powders for the Toilet, 242

 Altars, to Clean, 185

 Alum, 80
   Baking Powder, 102
   Bath, 535
   Process of Water Purification, 340

 Aluminum Alloys, 48
   Electrical Conductivity of, 50

 Aluminum-brass, 50

 Aluminum Bronze, 56, 657
   Castings, 150

 Aluminum-Copper, 50

 Aluminum Gilding, 576
   Gold, 68
   Etching Fluid for, 324
   How to Color, 80
   Lacquer for, 438
   Paper, 507
   Plating, 572, 581
   Polishes, 590

 Aluminum-Silver, 50, 75

 Aluminum Solders, 657

 Aluminum-Tin, 50

 Aluminum, to Clean, 204
   Toughness, Density and Tenacity, 83

 Aluminum-Tungsten, 50

 Aluminum Varnish, 725
   Working of Sheet, 83

 Aluminum-Zinc, 50

 Amalgam for Cementing Glass, etc., 90
   for Plaster, 65
   for Silvering Glass Balls, 90
   for the Rubber of Electric Machines, 90
   Gold Plating, 576

 Amalgams, 64, 85
   for Mirrors, 72

 Amber, 90
   Cements, 26
   Varnish, 718

 Ambrosia Powder, 628

 American Champagne, 118
   Factory Cheese, 176
   Lemonade, 110
   Soda Fountain Company’s Whipped Cream, 248

 Amethyst (Imitation), 370

 Amidol Developer, 528

 Ammon-carbonite, 331

 Ammonia, 91
   for Fixing Prints, 536
   Household, 91
   Poison, 93
   Violet Color for, 91
   Water, 245, 519
     Perfumed, 91

 Anchovies, Essence of, 98

 Anchovy Paste, 98
   Preparations, 98
   Sauce, Extemporaneous, 98

 Angostura Bitters, 762

 Anise Cordial, 763

 Aniline, 266
   Black Dye, 266, 279
     Substitutes, 279
   Black Lake Dye, 278
   Blue Dye, 268
   Green Dye for Wool, 269
     for Silk, 269
   in Pigments, Tests for, 560
   Scarlet Dye, 271
   Stains, to Remove, 185
   Yellow Dye, 271

 Animals, Fly Protection for, 419

 Ankara, 142

 Annealing Bronze, 56
   Copper, 219

 Annealing of Steel, Wire, etc., 681

 Anodynes, 486

 Ansco Platinum Paper, 529

 Ant Destroyers, 420

 Anti-corrosive or Asiatic Ink, 414

 Antidotes for Belladonna, 93
   for Poisons, 92

 Anti-ferments, 97

 Anti-fouling Compositions, 498

 Anti-freezing Solution, 362, 363
   for Automobilists, 363

 Anti-friction Bearing or Babbitt Metals, 50
   Metal, 58

 Anti-frost Solution, 363

 Anti-leak Rubber Tire, 708

 Antimony Poison, 93
   Baths, 581

 Antique Bronzes, 566
   Silver, 587, 639
     Imitation of, 640

 Antiques, to Preserve, 98

 Anti-rust Compositions, 625
   Paper for Needles, 625
   Pastes, 625

 Antiseptic Bromine Solution, 100
   Enamel, 720
   Nervine Ointment, 487
   Oil of Cinnamon, 100
   Paste (Poison), 99
   Pencils, 99
   Powders, 98
   Soap, 644
   Solution, Coloring for, 100
   Tooth Powder, 253

 Antiseptics, 98
   for Caged Birds, 729
   Mouth, 99

 Aphtite, 70

 Apollinaris Lemonade, 110
   Water, 740

 Apple Extract, 312
   Syrup, 312

 Applications for Prickly Heat, 398
   of Barium Amalgams, 86
   of Bismuth Amalgams, 88
   of Cadmium Amalgams, 87
   of Copper Amalgams, 87
   of Gold Amalgams, 89
   of Lead Amalgams, 88
   of Manganese Amalgams, 87

 Applications of Potassium Amalgams, 86
   of Silver Amalgams, 88
   of Sodium Amalgams, 86
   of Strontium Amalgams, 86
   of Tin Amalgams, 87
   of Zinc Amalgams, 87

 Applying Decalcomania Pictures, 250

 Apricot Extract, 312

 Aquarium Putty, 608

 Argentan, 69

 Arguzoid, 70

 Armenian Cement, 20

 Arms, Oil for, 460

 Arnica Salve, 486

 Aromatic Cod-Liver Oil, 482
   Cotton, 246
   Rhubarb Remedy, 180
   Vinegar, 735

 Arsenic Alloys, 63, 75

 Arsenic Poison, 93, 614

 Art Bronzes, 57, 556
   of Lacquering, 437

 Artificial Aging of Fabrics, 639
   Beeswax, 754
   Butter, 142
   Ciders, 181
   Coloring of Flowers, 346
   Egg Oil, 284
   Fertilizers for Pot Plants, 336
   Flowers, Dyes for, 272
   Flower Fertilizer, 337
   Horn, 396
   Leather, 447
   Marbles, 699
   Rubber, 618
   “Rubbered” Silk, 639
   Slate, 643
   Violet Perfumery, 518
   Water, 739

 Asbestos Cement, 30
   Fabric, 342

 Asphalt and Pitch, 33
   as Ingredient of Rubber, 619
   in Painting, 718
   Varnishes, 718

 Assaying of Gold, 381

 Asthma Cures, 101
   Fumigating Powders, 101
   in Canaries, 728
   Papers, 101

 Astringent for Horses, 730
   Wash for Flabby Skin, 234

 Atomic Weights, 758

 Atomizer Liquid for Sick Rooms, 264

 Attaching Enamel Letters to Glass, 19
   by Cement, 17

 Atropine, Antidote to, 102

 Aqua Aromatica, 102
   Fortis for the Touchstone, 383
     Poison, 92
   Regia, 102

 Aquarium Cements, 31

 Automobile Engines, Cooling, 363

 Automobiles, Anti-freezing Solution, 363

 Axle Grease, 462

 B

 Babbitt-Metals, 50

 Baking Powders, 102

 Balance Spring, 738

 Baldness, 392

 Balkan Paste, 38

 Ball Blue, 281, 444

 Ball-Room Floor Powder, 345

 Balsam, Birch, 103
   of Sulphur, 380
   Spray Solution, 103

 Balsam, Stains, to Remove, 194
   Wild-cherry, 103

 Balsams, 102

 Balsamic Cough Syrup, 211

 Banana Bronzing Solution, 489
   Cream, 115
   Trick, the Burning, 611
   Syrup, 312

 Banjo Sour, 110

 Barbers’ Itch, 486
   Powder, 243

 Barium Amalgams, 86
   Poison, 615

 Barometers (Paper), 402

 Bath, Air, 44
   Metal, 63
   Powder, 242
   Tablets, Effervescent, 103

 Bath-tub Enamel, 721
   Paint, 501

 Batteries, Solution for, 104

 Basis for Effervescent Salts, 627

 Baudoin Metal, 63

 Bavaroise au Cognac, 118

 Bay Rum, 104, 513

 Bear Fat, 333

 Bearing Lubricant, 461
   Metal, 50

 Beauty Cream, 231
   Water, 244

 Bedbug Destroyers, 420

 Beechwood Furniture Polish, 593

 Beef and Iron, 771
   Iron, and Wine, 104

 Beef-marrow Pomade, 227

 Beef Peptonoids, 509
   Preservatives, 360
   Tea, 112

 Beer, 118
   Ginger, 108
   Lemon, 108
   Restoration of Spoiled, 105
   Spruce, 119
   Treacle, 119
   Weiss, 119

 Beers, Alcohol in, 45

 Beetle Powder, 425

 Bees, Foul Brood in, 105

 Beeswax, Artificial, 754

 Belladonna, Antidotes to, 93

 Bell Metal, 51

 Belt Cement, 31
   Glue, 15
   Lubricant, 462
   Pastes for Increasing Adhesion, 105

 Bénédictine, 769

 Bengal Lights, 609

 Bent Glass, 371

 Benzine, 106
   Cleaning with, 209
   Purification of, 106
   to Color Green, 106

 Benzoic Acid, Detection of, 350
   in Food, 350

 Benzoic-acid Pastilles, 211

 Benzoin-Glycerine Soap, 652

 Benzoparal, 107

 Berge’s Blasting Powder, 330

 Beverages, 107
   Yellow Coloring for, 119

 Bibra Alloy, 71

 Bicycle Dipping Varnish, 719

 Bicycle-tire Cement, 23

 Bicycle Varnishes, 719

 Bicycles, Black Paint for, 495

 Bidery Metal, 80

 Billiard Balls, 148, 428

 Birch Balsam, 103

 Birch-Bud Water, 519

 Birch Water, 244, 389

 Bird Diseases, Remedies, 728
   Foods, 120, 729

 Bird Lime, 458
   Paste, 145
   Tonic, 729

 Birds, Antiseptic Wash for, 729
   Constipation in, 729
   Diarrhœa in, 729

 Biscuit, Dog, 265

 Bismarck Brown Dye, 267

 Bismuth, 49
   Alloys, 52
   Amalgams, Applications of, 88
   Bronze, 70
   Purification of, 380
   to Purify, 380

 Biting Off Red-hot Iron, 612

 Bitter Almond Oil Poison, 93

 Bitters, 762

 Blackberry Cholera Mixture, 180
   Cordial, 763

 Blackboard Paint and Varnish, 489
   Varnish, 720

 Black Color on Brass, 129
   Dye for Tanned Leather, 447
     on Cotton, 266
     on Wool, for Mixtures, 267

 Blackening Iron, 495

 “Black Eye” Lotion, 333

 Black Finish for Brass, 129
   Grease Paints, 229
   Hair Dye without Silver, 390

 Blackhead Remedies, 232

 Blacking Copper, 221
   for Harness, 450
   for Shoes, 631
   Stove, 700

 Black Japanese Varnish, 719
   Lake Dyes for Wall-paper, 278
   Marble, Imitation, 699
   Marking Inks, 407
   Paint for Polished Iron, 495
   Patina, 585
   Putty, 607
   Ruling Ink, 403
   Sheet Rust Preventive, 624
   Starch, 680
   Straw Hat Varnish, 266
   Varnish, 543, 544, 719
   Wash for Casting Molds, 150

 Blanching Silver, 640

 Blanket Washing, 399

 Blasting Powder, 330

 Blazing Sponge Trick, 611

 Bleach for Hands, 233

 Bleaches, Bone, 430

 Bleaching, 120
   and Coloring Feathers, 335
   Bone Fat, 333
   Cotton by Steaming, 245
   Cotton, 245
   Feathers, 121, 335
   Linen, 120
   of Linseed Oil, 459
   of Vegetable Fibers with Hydrogen Peroxide, 245
   Oils, 484
   Photographic Prints White, 553
   Silk, 120, 639
   Skin Salves, 234
   Solution, 121
     for Photographs, 553
   Solutions for the Laundry, 446
   Sponges, 678
   Straw, 120
   Tallows and Fats, 334
   Wool, 120

 Bleeding, Local, 701

 Blight Remedies, 121

 Blisters, for Horses, 729

 Block for Soldering, 667
   Hollow Concrete Building, 691
   Machines, 694

 Blocks Poured from Wet Concrete, 694

 Blood-red Brick Stain, 166

 Blotting Paper, 503

 Blue, Ball, 281

 Blue-black Ink, 414
   Patina, 585

 Blue Bronze, 138
   Dye for Hosiery, 268
   from Green at Night, 121
   Indelible Ink, 406
   Paving Bricks, 166

 Blueprint Inks, 403
   Paper Making, 536

 Blueprints, to Change, 121
   to Turn Brown, 542
   Waterproofing, 741

 Blue Ruling Ink, 403
   Sanitary Powder, 263
   Vitriol Poison, 94

 Bluing, 443
   Compounds, 443
   of Steel, 682

 Bluish-black Lake Dye, 278

 Blush Pink Dye on Cotton Textile, 279

 Board-sizing, 38

 Boiled Oil, 484

 Boiler Compounds, 121
   Plates, Protecting from Scales, 122
   Pressure, 123
   Scales, Prevention of, 122

 Boiling the Linseed Oil, 409

 Boil Remedy, 121

 Bone Black, 123
   Bleaches, 430
   Fat, 333
   Fertilizers, 338
   or Ivory Black, 123
   Polishes, 395
   Uniting Glass With, 17

 Bones, A Test for Broken, 124
   Treatment of, in Manufacturing Glue, 10

 Bookbinders’ Varnish, 720

 Book Disinfectant, 263
   How to Open, 125

 Bookworms, 425

 Books, their Preservation, 124
   to Remove Marks from, 186

 Boot Dressings, 631
   Lubricant, 460

 Boot-top Liquid, 632

 Boots, Waterproofing, 750

 Borated Apple Blossom Powder, 243
   Talcum, 510

 Borax in Food, 350
   for Sprinkling, 125
   Soap Powder, 650

 Boric Acid, Detection of, 350

 Borotonic, 258

 Bottling Sweet Cider, 181

 Bottle-cap Lacquer, 440

 Bottle-Capping Mixtures, 126

 Bottle Cleaners, 210
   Deodorizer, 127
   Stoppers, 700
   Varnish, 720
   Wax, 553

 Bottles, 126
   White Glass for, 373

 Bouillon, 113
   Chicken, 112
   Clam, 113
   Hot Egg, 112
   Tomato Extract, 212

 Bowls of Fire Trick, 611

 Box Glue, 15

 Bradley Platinum Paper, 529

 “Braga,” 117

 Bran, Sawdust in, 126

 Brandy, Artificial French, 768
   and Brandy Bitters, 762

 Brass, 127, 435
   A Bronze for, 136

 Brass and Bronze Protective Paint, 495
   Articles, Restoration of, 132
   Black Color on, 129
   Black Finish for, 129
   Bronzing, 566
   Brown Color to, 130
   Cleaners, 202, 203
   Coloring, 129, 473
   Colors for Polished, 127
   Etching Bath for, 324
     Fluid for, 323
   Fastening Porcelain to, 17
   Gilding, 576
   Graining of, 130

 Brass-Iron (Aich’s Metal), 53

 Brass Parts, Improved, 132
   Pickle for, 132
   Platinizing, 566
   Polishes, 590
   Sand Holes in, 150
   Solders, 657
   to Cast Yellow, 54
   Tombac Color on, 130
   Unpolished Coloring, 128
   Varnishes Imitating Gold, 725

 Brassing, 572, 581
   Zinc, Steel, Cast Iron, 581

 Brassware, Gold Lacquers for, 440

 Bread, Dog, 265

 Breath, Fetid, Remedies for, 133
   Perfumes, 258

 Brewers’ Yeast, 339

 Brick and Tilemakers’ Glazed Bricks, 164
   Arches, Waterproofing, 741

 Brickbat, Cheese, 176

 Brick, Blood-red Stain, 166
   Colors, 165

 Brickmakers’ Notes, 167

 Brick Polishes, 600
   Stain, 133, 166
   Walls, to Clean, 197
     to Renovate, 190
   Waterproofing, 134

 Bricks, 164
   Glaze for, 377
   of Sand-lime, 689
   Polish for, 600

 Brie, Cheese, 176

 Brightening Pickle, 469

 Bright Red Rouge, 229

 Brilliantine, 390
   Florician, 483

 Brimstone (Burning), 611

 Bristol Brass (Prince’s Metal), 53

 Britannia Metal, 55
     to Clean, 201
   Silver-plating, 587

 British Champagne, 118
   Oil, 484

 Brocchieri’s Styptic, 701

 Brocq’s Pomade for Itching, 228

 Broken Bones, A Test for, 124

 Bromine, Antiseptic, 100

 Bromoform, 134
   Rum, 134

 Bronze, Aluminum, 56
   Annealing, 56
   Articles, Polish for, 591
   Casting, 150
   Cleaning, 202, 205
   Coloring, 138
   Dye, 272
   for Brass, 136
   Gilding, 137
   Leather, 447
   Lettering, 456
   Machine, 58
   Phosphor, 58
   Polishes, 591
   Powder, Liquid for, 567

 Bronze Powders, 134, 139
   Preparations, 135

 Bronze, Renovation of, 205
   Silicon, 61
   Steel, 61
   Substitutes, 137
   Tincture, 135, 137
   to Renovate, 201
   Varnishes, 726

 Bronzes, 55
   Art, 57
   Pickle for, 138
   Statuary, 57

 Bronzing, 566
   and Patinizing of Articles, 136
   Engraved Ornaments, 137
   General Directions for, 135
   Liquid, 136
   Metals, 567
   of Brass, 571
   of Gas Fixtures, 566
   of Wood, 782
   of Zinc, 137
   Solutions for Paints, 489
   with Soluble Glass, 139

 Brooches, Photographing on, 551

 Brown Dye for Cotton, 267
   for Silk, 267
   for Wool, 267
     and Silk, 267
   Hair Dye, 390

 Browning of Steel, 583

 Brown Ink, 414
   Ointment, 486
   Oxidation on Bronze, 139
   Shoe Dressing, 632

 Brownstone, Imitation, 133

 Brown Tints, 559
   Varnish, 726

 Brunette or Rachelle Powder, 242

 Brushes, 140

 Bubble (Soap), Liquid, 655

 Bubbles, 141
   in Gelatine, 370

 Buff Terra-Cotta Slip, 166
   Wheels, Rouge for, 618

 Bug Killers, 420

 Building Blocks, Concrete, 691

 Bunions, 224

 Burning Banana Trick, 103
   Brimstone, 611
   Sealing Wax, 611

 Burns, 486
   Carbolic Acid, 147
   Mixture for, 142

 Burnt Alum, 80
   Steel, to Restore, 686

 Butter, 142, 354
   Artificial, Tests for, 354
   Color, 142, 359

 Buttermilk, Artificial, 143

 Buttons of Artificial Agate, 44
   Platine for, 80

 C

 Cadmium Alloy, about the Hardness of Zinc, 77
   Alloys, 61, 64
     with Gold, Silver, and Copper, 62
   Amalgams, Applications of, 87

 Calcium Carbide, 144
   Sulphide (Luminous), 494

 Camera, Renovating a, 553

 Campchello, 117

 Camphor for Cholera, 180

 Camphorated and Carbolated Powders, 252
   Cold Cream, 226
   Ice, 145
   Pomade, 145
   Preparations, 144

 Camphorated Substitutes in the Preparation of Celluloid, 157

 Canary-Bird Food, 729
   Paste, 145

 Canary Birds, Their Diseases, 729

 Concrete, 689

 Candles, 145
   Coloring, 145, 146
   Fumigating, 365
   Transparent, 145

 Candy, 216
   Colors and Flavors, 218
   Orange Drops, 216

 Canned Vegetables, 352

 Canning, 602
   without Sugar, 603

 Cantharides and Modern Potato Bug Poison, 94
   Pomade, 392

 Can Varnish, 720

 Canvas Waterproofing, 742

 Caoutchouc, 618
   Solution for Paints, 719

 Capacities of Utensils, 703

 Capsule Varnish, 720

 Capping Mixtures for Bottles, 126

 Caramels, 146, 216

 Caramel in Food, 352

 12-Carat, 433

 4-Carat Gold, 433

 18-Carat Gold for Rings, 433

 22-Carat Solder, 433

 Carats, to Find the Number of, 432

 Carbolic Acid, 147

 Carbolic-acid Burns, 147
   Decolorization of, 147
   Disguising Odor of, 147

 Carbolic Powder, 263
   Soap, 647

 Carbolineum, 497

 Carbonated Pineapple Champagne, 118

 Carbon Ink, 403
   Paper, 503
   Printing, 531
   Process in Photography, 531

 Carbuncle Remedies, 121

 Cardboard or Leather Glue, 15
   Waterproofing, 751

 Cards (Playing), to Clean, 209

 Care of Refrigerators, 401

 Carmelite Balm Water, 519

 Carmine, 403
   Lake Dye for Wall Paper, 278

 Carnation Lake Dye, 277

 Carpet Preservation, 399
   Soap, 644

 Carpets, How to Preserve, 399

 Carriage-top Dressing, 448

 Carron Oil, 242

 Case Hardening, 648

 Casein, 34, 148
   Albumen, and Glue, 34
   Cements, 20
   Massage Cream, 233
   Paste, 38
   Varnish, 34

 Cashmere Perfumery, 516

 Casket Trimmings, 150

 Casks, 149
   Watertight, 149

 Cassius, Purple of, 383

 Cast Brass, 53

 Cast-brass Work, Sand Holes in, 150

 Castile Soap, to Cut, 644

 Casting, 149
   Copper, 63
   in Wax, 755
   Molds, Alloys for, 80
   of Soft Metal Castings, 151

 Castings, Making in Aluminum, 81

 Castings Out of Various Metals, 149
   to Soften Iron, 427

 Cast-iron Soldering, 666

 Castor Oil, 153

 Castor-oil Chocolate Lozenges, 154

 Castor Oil, How to Take, 154
   Tasteless, 153

 Casts from Wax Models, 755
   (Plaster), Preservation of, 565
   Repairing of Broken, 26
   Waterproofing, 565

 Catatypy, 154

 Cat Diseases and Remedies, 732

 Caterpillar Destroyers, 423

 Catgut, 155
   Sutures, Preparation of, 155

 Catsup, Adulterated, 353

 Cattle Dips and Applications, 264

 Caustic Potash Poison, 93, 94

 Ceiling Cleaners, 400

 Celery Clam Punch, 112
   Compound, 155

 Cellars, Waterproof, 400

 Celloidin Paper, 504

 Cells, Solutions and Fillers for Battery, 104

 Celluloid, 155
   Cements and Glues, 17
   Glue for, 12
   Lacquer, 439
   of Reduced Inflammability, 159
   Putty, 161

 Cement, 692
   Armenian, 20
   Asbestos, 30
   Cheap and Excellent, 30
   Colors, 688
   Diamond Glass, 29
   for Belts, 31
   for Chemical Apparatus, 31
   for Cracks in Stoves, 162
   for Enameled Dials, 20
   for General Use, 31
   for Glass, 21, 25, 28
   for Iron and Marble, 17
   for Ivory, 31
   for Leather and Iron, 25
   for Metals, 21, 25
   for Metal on Hard Rubber, 22
   for Pallet Stones, 162
   for Pasteboard and Paper, 21
   for Patching Boots, 23
   for Pipe Joints, 162
   for Porcelain Letters, 19
   for Sandstones, 17
   for Steam and Water Pipes, 161
   for Watch-lid, 20
   for Waterpipe, 162
   Hydraulic, 33

 Cementing Celluloid and Hard-rubber Articles, 18

 Cement, Jewelers, 20
   Mordant for, 479
   on Marble Slabs, 16
   Paints for, 499
   Parisian, 30
   Protection of, Against Acid, 9
   Rubber for Cloth, 24
   to Paint Over Fresh, 499
   Transparent for Glass, 29
   Strong, 30, 32
   Universal, 31
   Work, Protection for, 162

 Cements, 16, 161
   Amber, 26
   Aquarium, 31
   Casein, 20
   Celluloid, 17
   for Attaching Letters on Glass, 19
   for Fastening Porcelain to Metal, 25

 Cements, for Iron, 24
   for Leather, 22, 23
   for Metals, 24
   for Rubber, 22
   for Stone, 16
   for Tires, 23
   for Water-glass, 19
   Meerschaum, 30
   Sign-letters, 18
   Silicate of Oxychloride, 35

 Ceramics, 164

 Chain of Fire, 612

 Chains (Watch), to Clean, 206

 Chalk for Tailors, 164

 Chamois Skin, to Clean, 186

 Champagne, 118
   Cider, 181

 Chapped Skin, 232

 Chappine Cream, 237

 Charta Sinapis, 480

 Chartreuse, 769

 Cheddar Cheese, 176

 Cheese, 174
   Color, 359
   Wrapping, Tin Foil for, 474

 Chemical Apparatus, Cement for, 31
   Gardens, 368
   Reagents, 349

 Cherry Balsam, 103
   Cordial, 764
   Phosphate, 112
   Tooth Paste, 257

 Chewing Candy, 217
   Gums, 178

 Cheshire Cheese, 176

 Chestnut Brown Dye for Straw Bonnets, 267
   Hair Dye, 391

 Chicken Bouillon, 112

 Chicken-coop Application, 419

 Chicken Diseases, 734

 Chicory, Tests for, 353

 Chilblains, 486

 Children, Doses for, 265

 Children’s Tooth Powder, 255

 China, 173
   Pomade, 227
   Repairing, 601
   Riveting, 179
   Silver Alloy, 75
   to Toughen, 173

 Chinese Tooth Paste, 257

 Chlorides, Platt’s, 264

 Chloriding Mineral Lubricating Oils, 462

 Chlorine-proofing, 9

 Chocolate, 179
   and Milk, 114
   Castor-oil Lozenges, 154
   Extracts, 312
   Frappé, 114
   Hot, 111
   Soda Water, 111

 Cholera Remedies, 179

 Chowchow, 212

 Chrome Black Dye for Wool, 267

 Chromium Glue, 15

 Chromo Making, 180

 Cider, 180
   Preservative, 181
   Vinegar, 735

 Cigarettes, Asthma, 101

 Cigar Flavoring, 183
   Sizes and Colors, 182
   Spots, 183

 Cigars, 182

 Cinnamon Essence, 312
   Oil as an Antiseptic, 100
   or Brown Dye for Cotton and Silk, 267

 Cinchona, 771
   Pomade, 392

 Citrate of Magnesium, 464

 Clam Bouillon, 113

 Claret Lemonade, 110
   Punch, 110, 112

 Clarification of Gelatin and Glue, 370

 Clarifying, 184
   Muddy Water, 741

 Clay, 33, 184

 Claying Mixture for Forges, 184

 Clean Bronze, 202

 Cleaner, Universal, 209

 Cleaning Linoleum, 398
   Marble, 196
   Polished Woodwork, 194
   Brass on Clock, 206
   Bronze Objects, 205
   Clocks, 207
   Copper, 200
   Copper Sinks, 202
   Electro-plate Goods, 205
   Funnels and Measures, 204
   Gilded Work on Altars, 185
   Gilded Articles, 185
   Gilded Bronzes, 205
   Gilt Bronze Ware, 201
   Glass, Paste for, 208
   Inferior Gold Articles, 207
   Lamp Globes, 209
   Marble, Furniture, etc., 197
   Methods and Processes, 209
   of Copperplate Engravings, 309
   of Statuettes and Plaster Objects, 564
   of Walls, Ceilings, and Paper, 190, 397
   Oil Stains on Wall Paper, 190
   Optical Lenses, 208
   Paint Brushes, 140
   Painted and Varnished Surfaces, 194
   Painted Doors, Walls, etc., 190
   Pearls, 208
   Preparations, 184, 397, 590, 644
   Preparation for Glass with Metal Decorations, 208