as with the opium-eater, the excitement the spirit produces diminishes daily in intensity. Each day he is obliged to augment the dose in order to bring himself up to the right pitch. The diseases brought on by the excessive drinking of ardent spirits are produced with greater rapidity by the use of absinthe.” The amount of absinthe consumed in London has during the last few years been enormously on the increase. See Liqueurs.
ABSINTHIN. C16H22O5. The bitter principle of wormwood (Artemisia absinthium). A hard crystalline solid, having an intensely bitter taste; slightly soluble in water, very soluble in alcohol, less so in ether. Its physiological effects resemble those of extract of wormwood. Dose. 1⁄2 gr. to 2 gr., or more; in dyspepsia; as a stomachic, to promote the appetite, &c.; as a substitute for quinine in intermittents; and in worms.
ABSINTH′IUM. [L.] See Absinthe.
ABSOLUTE. Syns. Absolutus, L.; Absolu, Fr.; Undebingt, G. In chemistry, pure, unmixed; as absolute alcohol, pure spirit of wine, i.e. free from water.
ABSORBED′ (-sorbd′). Syn. Chilled; Absorbé, Fr. In painting, a term among French connoisseurs, to represent that state of a picture in which the oil has sunk into the canvas or ground, leaving the colours ‘flat,’ and the touches indistinct. The remedy consists in rubbing the surface of the picture, previously well cleaned, with a soft sponge dipped in a little drying oil, and after some days varnishing it; when it should be kept in a warm room until perfectly dry.
ABSORB′ENT. Syn. Absorb′ens, L.; Absorbant, Fr.; Absorbirend, Ger. Imbibing; that imbibes or sucks up; variously applied in science and art. (See below.)
Absorbent Ground. In painting, a picture-ground prepared wholly or chiefly in distemper or water colour, in order that the redundant oil in the colours subsequently applied may be immediately ‘absorbed,’ by which expedition is permitted, and brilliancy imparted to them.
Absorbent Surfaces. In the arts, these are usually rendered non-absorbent, preliminary to their being bronzed, gilded, painted, or varnished, by giving them one, or more, coats of thin size, so as to destroy their porosity; care being taken to allow each coat to become thoroughly dry before the application of the next one; and also, finally, to remove any unabsorbed excess of size from the surface, by means of a sponge dipped in warm water. This applies to ALABASTER, PAPER, WOOD, PLASTER CASTS, &c.; and to WALLS and CEILINGS which are not exposed to the weather, and which there is not time to prepare with drying oil. See Bronzing, Maps, Varnishing, &c.
Absorption and consequent adherence in porous moulds, as those of plaster, are usually prevented by thoroughly saturating the pores of the mould with melted tallow, or a mixture of tallow and bees’ wax; or for delicate objects or the electrotype, with white wax. The ‘dry moulds’ are either heated before the application of these substances, or they are boiled in them; any portion that may finally remain unabsorbed, being carefully removed with cotton-wool or a soft rag. Another method is to wash the moulds over two or three times with drying oil, or to boil them in it; after which they must be exposed to the air for some days, to dry and harden. Before being used for plaster, composition, &c., the surface of these prepared moulds require to be slightly moistened with sweet oil.
Plaster moulds are generally prepared for sulphur, wax, and gutta percha casts, by simply placing them (upright) with the back immersed in a little water, contained in any shallow vessel, as a saucer or plate; and letting them remain there until moisture begins to appear on the surface. The materials to be cast, or moulded, should then be used at the lowest possible temperature, to prevent the formation of air-bubbles.